Film Music Magazine memberi rekomendasi untuk bulan Desember 2012 dan Hitchcock termasuk salah satu dari lima yang direkomendasikan. Silver Linings Book juga disinggung. Berikut ini kutipannya:
Extra Special: If the slashing strings of “Psycho” didn’t immediately identify Herrmann (with the shower scene music thankfully not repeated here), then the orchestral version of pianist’s Charles Gounod’s “Funeral March For A Marionette” comes in second as the signature theme for “Alfred Hitchcock Presents,” a darkly droll piece that’s wittily used to wrap the album up with.
If this golden “Playbook” had a dangerous sense of unpredictability that gave its lunatic love story a real edge, then part of that credit goes to filmmaker David O. Russell’s surprisingly whimsical choice in music. And one particularly inspired choice was giving Danny Elfman, a composer best known for ghoulish black comedy, the chance to go for positively sunny quirk. Think John Lennon in Elfman’s peace and love guitar stylings, beatific chorus and quirky percussion
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The Hollywood Reporter mengumpulkan enam composers dan mewawancarai mereka, berikut kutipannya:
Writing music often is a solitary pursuit, so it was no wonder that when six renowned composers -- Marco Beltrami, 46 (The Sessions), Mychael Danna, 54 (Life of Pi), Alexandre Desplat, 51 (Argo, Moonrise Kingdom, Rise of the Guardians,Zero Dark Thirty), Patrick Doyle, 59 (Brave), Danny Elfman, 59 (Frankenweenie, Hitchcock, Promised Land,Silver Linings Playbook), and Fernando Velazquez, 36 (The Impossible) -- gathered in one room, they relished the chance to discuss the complexities of their trade as part of THR's roundtable series. The setting for this gathering of scoring heavy hitters and potential Academy Award nominees: a soundstage sans musicians but with the familiar trappings of a workspace they know all too intimately. Indeed, the high-pressure undertaking of putting music to picture can be a painful process, but the rewards, like a perfectly formed, unforgettable melody, are worth every sacrifice -- and there are many.
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Situs Scoretrack me-review Hitchcock, berikut kutipannya:
It is also possible to find some sort of humour/sarcasm to this dead-serious atmosphere with “Funeral March For a Marionette” and the jazzy/sexy “Selling Psycho”. The overall lesson for Elfman is that grey, black and beige are also nice and they match with everything else. So let’s try them!
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Situs Examiner me-review Frankenweenie, berikut kutipannya:
I love and enjoy his work and Frankenweenie is lacking something here that his scores for MIB3, Hitchcock and Silver Lining's Playbook had. I don't know, maybe it's a score that will grow on me as the years go, but for now it is one that is a polished and professional breezy score is very effective for what it is and his fans will not be disappointed by it or if they are, they can always put on Edward Scissorhands. Marginal recommendation.
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AMPAS mengumumkan scores yang bisa mendapatkan nominasi Oscar, berikut kutipannya dari The Hollywood Reporter:
One hundred and four scores from eligible feature-length 2012 films are in contention for nominations in the Original Score category for the 85th Academy Awards
Lima score dari Danny Elfman termasuk yang bisa mendapat nominasi yaitu Dark Shadows, Frankenweenie, Hitchcock, Men in Black 3, dan Promised Land. Dark Shadows, Frankenweenie, dan Men in Black 3 tentu saja bukan Oscar material jadi kemungkinan Hitchcock dan Promised Land, terutama Hitchcock.
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Variety mem-publish tulisan Jon Burlingame mengenai Danny Elfman, berikut ini kutipannya:
Danny Elfman is finishing his busiest year ever, with no fewer than six films in the marketplace, including two for longtime collaborator Tim Burton ("Dark Shadows," "Frankenweenie") and "Men in Black 3" for Barry Sonnenfeld.
Three more have arrived in time for awards season: "Hitchcock," Sacha Gervasi's offbeat making-of "Psycho" drama; "Silver Linings Playbook" for director David O. Russell; and "Promised Land" for another regular collaborator, Gus Van Sant (whose "Milk" and "Good Will Hunting" earned Elfman score Oscar noms).
As for "Promised Land," Elfman's initial thought was "Midwest, a simple story, country folks, I'll use fiddles and guitars." But Van Sant's attitude about music, Elfman says, is always, "let's try something completely different." He saw all the marimbas in Elfman's studio and so marimba wound up as a key musical component.
As it turns out, strings, marimba, guitar (and sometimes human voice) predominate.
"Gus is fearless," Elfman says. "He just likes to try things, and that makes it fun for me. What is or isn't right can be a subjective thing. With 'Promised Land,' it was intimate and small -- a chamber orchestra."
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Situs Filmtracks me-review Hitchcock, berikut kutipannya:
Buy it... if you seek a throwback to Danny Elfman's early orchestral works of fiendish humor, his personality implanted well upon the topic despite limited opportunities to develop his effective themes for the famed director and his wife.
Avoid it... if you wish to hear Elfman channel Bernard Herrmann for the entirety of Hitchcock, for while he certainly rolls out such nods several times, this remains a score saturated with Elfman's own style.
Overall, Hitchcock is a fun score for the Elfman enthusiast and contains enough substance to justify its rather short album presentation. The themes do seem slightly underutilized, especially in how Elfman alternates between the darker and upbeat variations on the identity for the titular character. Then again, many of the film's best conversational moments exist without any music spotted in them, so the composer may have been restricted a bit in his opportunities for deeper development. Elfman collectors will be especially thrilled by how much of the composer's own musical personality thrives in this context, further connecting him with the Hitchcock and Herrmann legacy.
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Situs Filmtracks me-review Silver Linings Playbook, berikut kutipannya:
Buy it... on the score-only album if you wish to hear the best material Danny Elfman wrote for this picture, the song compilation product inexplicably including the least redemptive portions of the score.
Avoid it... unless you are an Elfman completist and can justify an unsubstantial, 20-minute album with your established soft spot for his heartfelt, contemporary romance style for small, light pop ensembles.
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Sudah agak lama situs IMDb me-list Danny Elfman sebagai composer untuk film Shoe Addicts Anonymous. Film ini adalah adaptasi dari novel berjudul sama karya Beth Harbison, disutradarai oleh Paul Weiland, dan dibintangi oleh Halle Berry. Filmnya belum memiliki tanggal rilis, hanya disebutkan akan dirilis tahun 2013.
Tidak ada informasi dari situs lain, termasuk dari situs agennya Danny Elfman, dan informasi dari IMDb belum tentu benar jadi yuk mari kita tunggu. Untuk ke situs filmnya di IMDb, klik di sini.
Dari L.A. Times, berikut kutipannya:
"With another director," Elfman said, "I may have tossed up my hands and just said, 'I can't handle this.' I like him personally, though, so I was able to kick back and relax and just let him go where he goes. If there ends up being music, there's music, if there ends up being no music, then that was my job. My job was to show him that he doesn't want any music."
In the end, there was music. "Silver Linings Playbook" was an anomaly among Elfman's scores. Largely centered on a jangly guitar, a cresting piano and fragile vocal harmonies, it was pop-focused and full of odd little melodies.
And though the composer does not like comedies ("It is a genre that is clearly off my list. I do not do them"), "Silver Linings" hooked him, and that's because it reminded Elfman of films that no longer exist. "I felt like this was Frank Capra and Billy Wilder. This film connected with a period when I actually did like romantic comedies."
Elfman had already revisited the work of famed composer and Alfred Hitchcock collaborator Bernard Herrmann, so he instead used a small orchestra and actually played it not too unlike that of an old-fashioned romantic comedy. Violins carry the score, but they're in a constant give-and-take with French horns and a piano.
"The music is in many elements a comedy, and Sacha [Gervasi] wanted to make it clear that it's OK to have fun with sections of this movie," Elfman said. "The heartfelt part needed to be very heartfelt. I tried to create an old-fashioned romantic theme, not from any particular era but in the mold of how a classic romantic theme might be."
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Berita rada lama nih, status IRIS by Cirque du Soleil di Facebook tanggal 1 Desember adalah sebagai berikut:
After close to 500 well received shows at the world renowned Dolby Theatre, the last performance of IRIS by Cirque du Soleil will be January 19, 2013. Despite phenomenal reviews and enthusiastic audience response, demand has not met projections. We have been honored to work with both the City of Los Angeles and the CIM Group to launch IRIS at this iconic location. It has been a joy to stage IRIS in the beautiful state-of-the-art Dolby Theatre and we appreciate the wonderful relationships we have built in Los Angeles. For the time being, we will redeploy as many as our artists and employees to other Cirque du Soleil projects.
Performances of IRIS from 20 January through 26 January have been canceled. Any customer who has purchased tickets for these performances, please return to your point of sale for a refund or exchange into another performance.
Awww :(
Situs Examiner me-review Frankenweenie score album, berikut kutipannya:
Inspirational comparisons can be drawn to 1950s schlock-horror films and some of the more gothic atmospheres from the 1960s era of Hammer. It’s not wholly unexpected, as we all know what Elfman is capable of, and we are all well familiar with his track record and work ethic with Tim Burton. So, while the score may not be a total surprise, but it is definitely a welcome treat this time of the year. And beyond that, it is probably one of the more appropriate scores to use to ease a small child into the Danny Elfman aesthetic.
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Situs Examiner me-review Hitchcock score album, berikut kutipannya:
Sony Classical's album is a brief, but enjoyable, powerful experience that Elfman's fans will really enjoy on its own merits. I was actually quite surprised at how much I did like this one along with Silver Linings Playbook and it really seems to me that Elfman is really getting back to that late period in the 1990's where he really excelled and his work was getting broader and broader which is why he's become a really diverse composer able to score films such as Hitchcock and the many others in the past years he has since the late 90's in his mature mode. The most enjoyable aspect is how Elfman shifts his darker romantic material to a lighter tone and keep everything on an even keel musically and Elfman in this mold is something very special that's been somewhat missing the last few years. Hitchcock is a score that will remind alot of people of that great period and hopefully the start of a another great one for the great composer. Definitely recommended.
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Randall Larson di Soundtrax: Episode 2012-11 tanggal 6 Desember 2012 me-review Hitchcock score album, berikut kutipannya:
Elfman does not provide pastiches of the PSYCHO score here but rather reflects its sensibility in his score’s orchestration and harmonic structure (the End Titles are perhaps the most distinctly Hitchcockian/Herrmannesque in their string and horn intonations). It’s very much a Danny Elfman score, and a superior one at that, evoking the personality of Hitch as only Elfman can, while also conveying a very heartfelt and honest emotion for his intense regard for Alma.
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Situs Deadline mewawancarai Danny Elfman, berikut kutipannya:
After composing five film scores straight, without a weekend off, it’s fair to that Danny Elfman has had a very long year. Still, there was no limit to what he would do to work on a film about his idol, Alfred Hitchcock. “I don’t know how I’m going to do this, but I have to do this,” Elfman recalls about committing to Fox Searchlight’s Hitchcock, which was scheduled for delivery right before his opus on Disney’s Oz: The Great And Powerful. “I wouldn’t have a film-music career if it wasn’t for Bernard Herrmann, who has inspired me since the age of 12.”
“He literally bought sections of the orchestra out of his own pocket,” says a gobsmacked Gervasi. “We were recording with the top musicians in London, and we couldn’t afford to keep them through lunch. Danny asked the orchestrator, ‘How much do the violas cost? 3,000£? I’ll take them. How much for the French horns?’ And Danny held the musicians through lunch.”
Also keeping Elfman at the top of his game is the company he keeps with offbeat directors who challenge him. At first, when Elfman heard Silver Linings Playbook was a romantic comedy, he resisted. “That is the genre that I feel no affinity toward at all, and it’s the only one I stay away from. I did a few early on in my career, and they were incredibly difficult.”
“I was playing around with instruments and put my vocals onto one piece as a goof, and David was like, ‘Do more of that! Do more of that!’, like he was producing me. Before we knew it, that’s what we were doing,” Elfman says with a laugh. “It was really crazy and off the track of what I’m usually doing, which is writing very intense, big scores.”
As one of the few scoresmiths who can churn out a panoramic orchestral creation, Elfman will likely get his due from the Academy one day. Already his eighth reteaming with Sam Raimi, Oz: The Great And Powerful, sounds like the type of epic, á la Lawrence of Arabia, that voters crave.
“The movie has this big, blustery old-fashioned feel, and I wanted to give it a big, effective, narrative score,” Elfman says. “It’s huge—105 minutes of music.”
A very good read. Baca lengkapnya di sini.
Situs Film Music Media me-review soundtrack Hitchcock, berikut kutipannya:
The album is about 40 minutes long, which is quite short these days as film music fans have become accustomed to 1 hour plus OST releases and even longer archival ones. The average track length is roughly a minute and a half, so while it may initially feel disjointed, the album works tremendously well as a whole in the end. It breathes and does not feel too quick nor does it overstay its welcome.
In a year of Elfman duds, Hitchcock is a lovely gust of fresh air from the composer. Dark Shadows, Men In Black 3, and Frankenweenie all disappointed, yet this one ultimately delivers and displays Elfman's contemporary drama writing wonderfully. While the "Theme From Hitchcock" is less melodic and developed than other great Elfman themes, the score as a whole will keep listeners delighted without tethering you to your music player for too long.
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Situs Film Music: The Neglected Art me-review soundtrack Hitchcock, berikut kutipannya:
Highlights include the opening Logos which are lead by the harps while the reeds in the background enhance the creepy mood with harmony in the way of pizzicato strings. This is merely a prelude for the Theme from Hitchcock, a Largo tempo, which features yearning strings and a clarinet offering the harmony. It is a theme that will be repeated throughout the score, a motif for Hitchcock.
I found that with repeated listens much of the subtle nuances that Elfman used will come to the surface. It overall has a Herrmann sound but it doesn’t. It has an Elfman flavor but it isn’t. The music style incorporated is an Elfman original which is also a tribute to one of the finer film composers of all time Bernard Herrmann. Recommended
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Situs Film Music Media me-review Silver Linings Playbook score album, berikut kutipannya:
The score only clocks in just over 20 minutes, so while it is quite brief, Elfman does not fail to prick your ears up. Piano, guitar, and elated choir invoke a wonderful feel-good mood that is unique to Elfman's style without ever really sounding like anything he has done before. The music is mono thematic; whichever track you choose to play will run you into some variation of it filtered through the instrumentation mentioned above. Due to this, the score can tend to run out of steam surprisingly quick despite its short length. The final cue, "Good Track," features, you guessed it, goofy lyrics about the actors in the film superimposed over the theme.
Elfman's quirky and lighthearted drama score does not get a good work out in terms of orchestration, but if you are in the mood for something short and sweet, look no further. Recommended for diehard Danny Elfman fans or for those who enjoyed the film, the sparsity of the music here may fail to draw in casual listeners.
Tepatnya "Goof Track", baca lengkapnya di sini.
Situs Movie Music UK me-review score album Silver Linings Playbook, berikut kutipannya:
Being a contemporary comedy-drama, the film didn’t require an elaborate score for a full orchestra, so instead Elfman dipped back into his bag of tricks and emerged with a light, tuneful orchestral-rock score that plays like a combination of his score for Midnight Run back in the 1980s, Taking Woodstock from 2009, and the songs he wrote for Charlie and the Chocolate Factory in 2005, sans lyrics. The score is performed mainly by piano, guitars and percussion, with a few light synth overdubs here and there, and the occasional inclusion of a wordless male voice choir singing in a light pop style and a 1960s vibe
...it’s slight, short, inconsequential, but an enjoyable and undemanding diversion for anyone who enjoys Elfman’s melodious and carefree modern rock sound. In the film the score plays definite second fiddle to the numerous rock songs by artists like Stevie Wonder, the Dave Brubeck Quartet, Bob Dylan and Johnny Cash, but the memorable central piano melody is catchy enough to become a compilation favorite, and you may hear it played plenty of times at the Academy Awards ceremony in 2013. The score is a digital download only, and although it won’t appeal to score fans who only appreciate Elfman when he’s firmly entrenched in Batman mode, its well worth checking out for Elfman completists.
Procol Harum. Baca lengkapnya di sini.
Beberapa hari yang lalu, Focus Features mempromosikan film Promised Land untuk Academy Awards di situsnya. Musik latar belakangnya adalah lagu Snake Eyes dan score dari Danny Elfman. Ada 13 score tracks yang dapat di-downlo.. didengarkan di situs promo tersebut.
Promised Land adalah film terbaru Gus van Sant yang akan dirilis tanggal 28 Desember 2012. Film ini dibintangi oleh antara lain Matt Damon, Frances McDormand, dan John Krasinski. Cek situs promonya di sini.
Press release dari Sony Music, berikut kutipannya:
The soundtrack is by Danny Elfman, four-time Oscar® nominee who has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee, Rob Marshall, Guillermo del Toro, Brian De Palma, Peter Jackson and David O. Russell. Beginning with his first score on Tim Burton's PEE-WEE'S BIG ADVENTURE, Elfman has scored a broad range of films, including: MILK (Oscar nominated), GOOD WILL HUNTING (Oscar nominated), BIG FISH (Oscar nominated), MEN IN BLACK (Oscar nominated), EDWARD SCISSORHANDS, WANTED, CHARLIE AND THE CHOCOLATE FACTORY, MISSION: IMPOSSIBLE, PLANET OF THE APES, A SIMPLE PLAN, TO DIE FOR, SPIDERMAN (1 & 2), BATMAN, DOLORES CLAIBORNE, SOMMERSBY, CHICAGO, DICK TRACY, THE NIGHTMARE BEFORE CHRISTMAS and ALICE IN WONDERLAND. Most recently he provided the music for Gus Van Sant's PROMISED LAND, Tim Burton's FRANKENWEENIE and David O' Russell's SILVER LININGS PLAYBOOK. Up next for Elfman is Sam Raimi's OZ: THE GREAT AND POWERFUL.
The music for the shower scene of PSYCHO, written by Bernard Herrmann, is one of the most famous compositions in movie history. Hitchcock had wanted this scene without music, but was so pleased with the effect of screeching violins, violas, and cellos that he later stated that "33% of the effect of PSYCHO was due to the music." Herrmann's original score was adapted by Danny Elfman in 1998 when Gus Van Sant directed a remake – connections that now come full circle with the choice of Elfman as composer for HITCHCOCK. With the release of this soundtrack by Sony Music, fans of the great director Hitchcock and lovers of movie music will be able to enjoy for themselves the quality of Elfman's work.
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Situs Examiner mem-publish score review dari Danny Gonzalez untuk film Silver Linings Playbook dan memberi grade A-, berikut kutipannya:
the songs are solid and the best part is that Danny Elfman has written an exceptional score that really does work with the songs, but it's such a fun and catchy work. The score is pretty much and in some ways is an extension of his solid previous works for Good Will Hunting, To Die For and A Civil Action. There is a cheerful exuberance to Elfman's score that is very infectious and feels like forever since he's done something this much fun and joyful. From the on set starting with "Silver Lining Titles", Elfman utilizes a more intimate approach to the material with a smaller sized orchestra featuring acoustic guitar, keyboard, drums along with a terrific chorus that just has the feel of a Manhattan Transfer album that really is just infectious.
To have Elfman in this mode again is wonderful because you can really hear him having fun with the material and some of his best scores seem to be for more intimate and character driven stories like this one. Silver Linings Playbook is easily one of my favorite scores this year and also one of Danny Elfman's most enjoyable and engaging works in a really long time. Highly recommended.
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Studio: The Weinstein Company
Sutradara: David O. Russell
Composer: Danny Elfman
Tanggal rilis film: 21 November 2012
Tanggal rilis album: 16 November 2012
Label: Sony
Track list:
1. Silver Lining Titles
2. Running Off
3. Simple
4. With A Beat
5. Tiny Guitars
6. Walking Home
7. Silver Lining Wild-Track
8. The Book
9. Happy Ending 3:52
10. Goof Track 1:28
Sebelumnya hanya ada kabar mengenai song album untuk Silver Linings Playbook yang berisi dua score tracks dari Danny Elfman. Ternyata ada juga score album-nya, namun download only.
Studio: The Montecito Picture Company, Cold Spring Pictures, Fox Searchlight Pictures
Sutradara: Sacha Gervasi
Composer: Danny Elfman
Tanggal rilis film: 23 November 2012
Tanggal rilis album: 4 Desember 2012
Label: Sony Masterworks
Track list:
1. Logos
2. Theme from "Hitchcock"
3. The Premiere
4. Paramount / Out the Gate
5. Mommy Dearest
6. In Bed
7. Impulses
8. The Censor
9. The Swim
10. Peeping
11. Sacrifices
12. Walk With Hitch
13. Celery
14. Telephone
15. Suspicion
16. Explosion
17. Selling Psycho
18. Fantasy Smashed
19. The Sand
20. It's A Wrap
21. Busted
22. Saving The House
23. Finally
24. Home At Last
25. End Credit#1
26. End Credit#2
27. Funeral March for a Marionette
Situs Billboard melaporkan acara penyerahan Maestro Award kepada Danny Elfman di acara Billboard/Hollywood Reporter Film and TV Music Conference tanggal 25 Oktober, berikut kutipannya:
Elfman said "the emotional side" of Hitchcock's story attracted him to Gervasi's picture. He had no intention of mimicking Herrmann, lest it sound like parody. As he rightly pointed out, John Williams' "Jaws" theme and Herrmann's "Psycho" shower scene music are perhaps the two most recognized bits of instrumental sound from any two movies ever.
Elfman was a huge fan of Gervasi's documentary about hard-luck Canadian metal band Anvil. "I take exception to the 'Spinal Tap' allegory," he said of the film. "In fact, the movie was so wrenching emotionally, my wife and I had to stop the first time. We couldn't finish it. We had to come back and finish it. We found it really engaging. One can look at it and say 'Spinal Tap like' because they're a crazy rock, heavy metal kind of thing. But it was really moving. Very rare that we have to pause before the last act of the film because we're almost afraid to see how it ends."
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Situs The Hollywood Reporter mewawancarai Danny Elfman, berikut ini kutipannya:
The Hollywood Reporter: How did you score seven films in about a year's time?
Danny Elfman: Eight. Dark Shadows, Men in Black 3,Frankenweenie, Silver Linings Playbook, Promised Land,Hitchcock, Oz, Epic. I've never had a year like this. It's a blur. Ripping myself out of one and hurtling into another is like switching alternate universes, a ripping slash.
THR: What was Russell like on Silver Linings Playbook?
Elfman: I was apprehensive because I have a real fear of romantic comedy. It's the one genre I go out of my way to never do because I don't have a feel for it. I see very few comedies, even. But this was just strange enough, and I loved the chemistry between Bradley Cooper and Jennifer Lawrence. I thought it'd be easy, since there isn't that much music. It was far from easy, because David is such a character. He tortured me endlessly but never stopped amusing me. The trick with David is to be very patient, just kick back and try to enjoy the Russell Experience. Really worthwhile.
THR: You imagined yourself into composer Bernard Herrmann's head for Gus Van Sant's Psycho remake. What was it like to score Hitchcock?
Elfman: The main thing I wanted to know from Sacha was that he didn't want to do a Herrmann-esque score, a mock Psycho. The story is a romance between Alfred and Alma Hitchcock. It's a fairly romantic score, and it gets a little darker where Hitchcock is in the world of Ed Gein [the killer who inspired Psycho], talking to him. I found myself occasionally doing Herrmann-esque things but not intentionally. He's so much part of my DNA, there's moments where, yeah, there's a bit of an homage there, but it's just me.
THR: Why did you do Promised Land? Was it fun because Van Sant likes to let people take big risks?
Elfman: There's so many things fun about working with him, but that's an important one. He actually forces me to take risks. I start with ideas, and he'll say, "Let's try completely opposite stuff and see what happens." I just start playing Gus pieces I'm writing. For Promised Land, I'm thinking, "OK, guitars -- a very simple Americana score." Gus was like, "Why don't we do the whole thing on marimbas?" He's just a pure pleasure to work with.
THR: What makes music funny?
Elfman: I don't know.
THR: Do you have a "funny" button on your console?
Elfman: I wish. On Oz just yesterday, I was playing some music for [director] Sam Raimi, and he was laughing out loud. And what I did that was so funny in this particular moment was a pause. What's usually funny in music is timing. When I'm making Sam laugh effectively, which I've been doing quite a bit of this week, it's because I'm finding the timing of a scene, putting in accents and pauses in very specific moments. It's funny without trying to be.
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Situs Film Music Magazine mengeluarkan rekomendasinya untuk bulan Oktober 2012, termasuk Frankenweenie, berikut kutipannya:
“Frankenweenie” is always in hyperactive cartoon mode, flurrying about like Carl Stalling in a Franz Waxman “Bride of Frankenstein” mood. We also get a1930’s black and white orchestra, along with a wacked 50′s Theremin that at times makes “Frankenweenie” seem like the steroid soundtrack for the Ed Wood monster picture that Elfman always wanted to score. But in the end, it’s the swellingly magical choral and string sweetness of a little boy and his dog that sticks with you along with a truly genius horror-ification of Disney’s opening signature tune of “When You Wish Upon A Star” – easily the coolest bit of studio logo music subversion since Elliot Goldenthal turned Alfred Newman’s Fox fanfare to dissonance for “Alien 3.”
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A first for Elfman, musik untuk... smartphone game app! Berikut kutipannya:
Puppet Masterpiece Theater: The Circus game app captivates players with story and illustrations by Alexandra Conn and music by Danny Elfman. Based on a story written by a child, this circus app includes nine magical games, lions, seals, snakes, talking birds, a painted horse, and a villainous ring leader. Available now from Organa on iTunes for iPads.
Puppet Masterpiece Theater: The Circus has nine games woven into a classic story of intrigue, adventure and circus delights. These interactive games promise to educate, entertain and engage the kids as they travel with a group of friends on a mission to get their beloved horse back – they get more than they bargained for when the circus comes to town. This captivating story is set to a spectacular soundtrack by Danny Elfman, Grammy award winner, known for his TV and film scores including “The Simpsons”, “Nightmare Before Christmas” and most recently “Frankenweenie”.
"Alex Conn's genius design and Danny Elfman's music is AMAZING for the young and not-so-young." says Dorit Avganim the Theater Producer and Arts Educator.
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Studio: The Weinstein Company
Sutradara: David O. Russell
Composer: Danny Elfman
Tanggal rilis film: 21 November 2012
Tanggal rilis album: 19 November 2012
Label: Sony
Track list:
1. Silver Lining Titles – Danny Elfman
2. My Cherie Amour – Stevie Wonder
3. Always Alright – Alabama Shakes
4. Unsquare Dance - The Dave Brubeck Quartet
5. Buffalo - alt-J
6. The Moon Of Manakoora – Les Paul & Mary Ford
7. Monster Mash – CrabCorps
8. Goodnight Moon – Ambrosia Parsley & The Elegant Too
9. Now I’m A Fool – Eagles Of Death Metal
10. Walking Home – Danny Elfman
11. Girl From The North Country – Bob Dylan & Johnny Cash
12. Silver Lining – Jessie J
13. Hey Big Brother – Rare Earth
14. Maria – The Dave Brubeck Quartet
Situs The Hollywood Reporter melaporkan bahwa Danny Elfman akan mendapatkan Maestro Award di acara Billboard/Hollywood Reporter Film and TV Music Conference pada tanggal 25 Oktober mendatang di W Hotel, Hollywood. Berikut kutipannya:
Ever since his first major film score, Tim Burton's Pee-Wee's Big Adventure in 1985, Elfman has been among the most gifted and prolific composers in Hollywood history, earning a Grammy for Burton's Batman, an Emmy for Desperate Housewives, and four Oscar nominations. His compositions, including the theme to The Simpsons and scores to most Burton films, are instantly recognizable and often iconic.
THR film critic Todd McCarthy will give the award and host a Q&A with Elfman and Hitchcock director Sacha Gervasi. Elfman is the ideal composer for Hitchcock, since one of his chief influences is Hitchcock's frequent composer Bernard Herrmann, whose score for Psycho Elfman "interpreted" for Van Sant's remake.
The Q&A will address not only Hitchcock but Elfman's other award-contender movies, David O. Russell's Silver Linings Playbook, Gus Van Sant's Promised Land, and Burton's Frankenweenie.
Baca lengkapnya di sini. Congrats, Mr. Elfman!
Situs Filmtracks me-review score album Frankenweenie dan memberi empat bintang. Berikut kutipannya:
Buy it... if you are consistently engaged by Danny Elfman's mastery of gothic storytelling, his themes and narrative in this work a showcase of the composer's reliable fantasy and drama modes.
Avoid it... if you expect Elfman's thematic identities, despite their tender and raucous range and entertaining execution, to be original enough to consider this score transcendent in the composer's career.
Overall,Frankenweenie is extremely entertaining in nearly of its ranks, despite some regurgitation and simplistic themes from Elfman. The parody material, from the opening logo to the monster-fest at the climax, is tremendous fun. The "Electricity" and "Re-Animation" duo is equally engaging. As surprising as this may seem, it's the lighter two themes that, while very pleasant, fail to carry the same ingenuity and memorable character. Still, this is a very solid score that is pure Elfman magic at its heart, and, as a superior companion piece to Dark Shadows, it reaffirms the composer's mastery of gothic storytelling.
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Randall Larson merilis buku sejarah lengkap musik film Musique Fantastique: 100 Years of Fantasy, Science Fiction & Horror Film Music Second Edition. Edisi pertamanya dirilis tahun 1985 dan mencakup sejarah musik film sampai awal dekade '80an. Edisi kedua ini dilengkapi sampai dengan film-film tahun 2011 (2012?). Berikut kutipannya:
Announcing: Musique Fantastique, Second Edition
100+ Years of Fantasy, Science Fiction & Horror Film Music
By Randall D. Larson
Creature Features Press: 2012
This thoroughly re-written and massively expanded new edition of Larson’s seminal 1985 book will be spread over a landscape of four large volumes, covering every aspect of music for fantastic films from the Silents through the Summer Blockbusters of 2011. Focusing on the composers whose work has enlivened the movies of monsters and madmen, fantastic lands and distant worlds, Larson analyzes fantasy, science fiction, and horror film music around the world, from A TRIP TO THE MOON in 1902 to TRANSFORMERS: DARK OF THE MOON in 2011. Eschewing criticism for commentary, Larson incorporates interviews with hundreds of composers along with his own perceptive analytic commentary and the perspectives of a myriad of other reviewers, writers, and commentators, providing in Musique Fantastique, Second Edition a comprehensive historical overview of how music has been used in the fantastic genre.
Totaling 34 Chapters and more than 1700 pages, featuring a new introduction by film composer Christopher Young, Musique Fantastique, Second Edition offers a definitive historical context for the evolution and development of film music within science fiction, fantasy, and horror cinema.
Sejarah musik film ini terbagi menjadi empat buku:
- Book One: Beginnings and The First Golden Age (1900-1959)
- Book Two: Post Classical Cinema and Music Beyond Hollywood (The 1960s)
- Book Three: The Symphonic Resurgence and the Rise of the Machines (1970-1989)
- Book Four: The Turning of a New Millennium & the Explosion of Fantastic Cinema (1990-2010).
Baru buku pertama yang dirilis. Danny Elfman baru akan mulai disebut di buku ketiga dan keempat. Dari daftar isinya, Elfman mendapat beberapa subsection yaitu "Danny Elfman’s Big Adventure" di buku ketiga, Chapter 23: Resurgence: Fantasy Film Music in the ‘70s and ‘80s – Part Two, "The Decade of Danny Elfman" di buku keempat, 28: Fantasy & Fusion: The Hybrid Horror & Fantasy Music of the 1990s – Part 1 dan "Elfman 2000" di Chapter 30: New Styles For The Musical Millennium – The Evolving Dynamics of Fantastic Film Music. Berikut kutipannya:
If any single composer defines mischievous mayhem in 1990s cinema music it was Danny Elfman, who carved out an entirely memorable and extraordinarily effective new career as a film composer out of what had been a comfortable life in rock and roll. Elfman began his rise in the film musical community in the late 1980s (see Chapter 22), crafting a slightly lunatic style that was perfect for the emerging mix of humor and horror that embodied many of these films… [He] continued his association with director Tim Burton throughout this decade and the next, the two continuing to share a common creative bond. “The hardest part of being a film composer is not writing the score, it’s climbing inside the director’s head and seeing the movie through their eyes, and yet still giving it your own identity,” said Elfman. “One of the great joys of working with Tim is that climbing inside his head is not that much different than being inside my own head. There are definitely a lot of common links there.” When Burton filmed his Gotham City sequel, Batman Returns (1992), Elfman found the opportunity to expand his original 1989 Batman score and create some deliciously devilish music for the Penguin and Catwoman characters, whose origins are introduced in this film. “Tim and I made a decision to hear the Batman melody played straight and simple, or you’d lose the connection with the first picture,” Elfman told Daniel Schweiger. “The Catwoman needed a more complex theme than the Penguin, because she’s a victim. Felina’s schizophrenic, so her music had to be twisted, fun, and bittersweet…. The Penguin is a broad, twisted, and evil little character, but one that we love. His music is more theatrical, because whenever he walked on the stage, I saw the Penguin as an opera singer who was about to deliver an aria. I gave his melodies a grand, overblown quality that was sometimes just plain sinister.”
Baca lengkapnya di sini.
Tanggal 2 Oktober, Dark Shadows dirilis dalam format DVD (region 1 yaitu Amerika dan Kanada), blu-ray (region A yaitu Amerika dan Asia Tenggara termasuk Indonesia) dan Ultraviolet Digital Copy untuk Amerika. Tidak ada fitur khusus mengenai musiknya atau Danny Elfman, tapi ada pembahasan musiknya oleh Danny Elfman dalam fitur picture-in-picture track dengan "focus points".
Berikut ini kutipan dari press release resmi untuk score album Frankenweenie:
Walt Disney Records released the original motion picture soundtrack for Frankenweenie on Sept. 25, 2012. Danny Elfman composed the original score – his 15th collaboration with writer/director Tim Burton.
From the opening scene and the first cue on the soundtrack, Elfman's "Frankenweenie Disney Logo," it's clear that Frankenweenie is not your usual story about a boy and his dog. Several of the characters we are introduced to in the film, for example Victor, Elsa Van Helsing and Edgar "E" Gore were inspired by classic horror films. "Frankenweenie is very sweet but then there's this monster movie side of it that I really got to tap into my own roots as a life-long fan of that genre," said Elfman.
Elfman's score, like the story, starts out light and carefree, but then reflects the dark turn taken when Victor loses his beloved dog, and friend, Sparky. The depth and expressiveness of the track "Re-Animation" initially recalls both the ego and excitement of past movie attempts to animate those who have gone before, but then ends with the tender reunion of boy and dog. Elfman's score alternates between the dark elements of Burton's re-imagination of the Frankenstein mythos and the quirky adventures of a boy and his Frankenweenie.
"There's a theme for Victor and his relationship with his dog and then there's actually a theme for Sparky himself," Elfman described. "Sparky's theme is more playful, as dogs are. Victor's theme is a little sadder because it's more about how much he loves and misses Sparky. It is ultimately a story about a boy and his dog and there's almost nothing purer than that."
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Menyambut dirilisnya Frankenweenie tanggal 5 Oktober, Disney Publishing Worldwide dari Walt Disney Company merilis Frankenweenie: An Electrifying Book pada tanggal 24 September. Buku setebal 71 halaman ini berisi making-of dari filmnya antara lain original arts, production photos, musik, video dan wawancara dengan para filmmakers termasuk dengan Tim Burton. Buku digital ini bisa dibaca gratis melalui iTunes atau iBooks 2 di iPad. Berikut deskripsinya:
Go behind the scenes with Tim Burton's stop-motion animated film, "Frankenweenie" with this exclusive interactive book. Delve into the details of the concept, creation and execution of the film with beautiful photos, art, interviews, music, 3D model characters, and much more! Created with Apple's unique iBooks Author app, the book will allow the audience to immerse themselves in Tim Burton's process from sketch to screen.
Ada rencana bahwa bukunya akan di-update, waw. Bukunya gratis di sini.
Kraft-Engel Management mengumumkan dua proyek baru untuk Danny Elfman yaitu Promised Land dan Hitchcock. Hitchcock adalah film adaptasi dari buku Alfred Hitchcock and the Making of Psycho karya Stephen Rebello. Film ini dibintangi oleh banyak bint... oleh banyak aktor dan aktris terkenal antara lain Anthony Hopkins sebagai Alfred Hitchcock, Helen Mirren, Scarlett Johansson sebagai Janet Leigh, Jessica Biel, dan Ralph Maccio. Film yang disutradarai oleh Sacha Gervasi ini akan dirilis paling awal di Swedia tanggal 8 Februari 2013 (belum ada tanggal rilis untuk Amerika Utara).
Danny Elfman belum pernah bekerja sama dengan Sacha Gervasi sebelumnya. Sacha Gervasi ini baru satu kali membuat film yaitu Anvil! The Story Anvil, sebuah film dokumenter mengenai band heavy metal Anvil. Namun demikian film dokumenter ini mendapat banyak sekali penghargaan.
Seperti telah disebut di atas, film Hitchcock ini terutama akan bercerita mengenai pembuatan film Psycho. Bernard Herrmann yang membuat score film Psycho adalah salah satu composer referensi utama bagi Danny Elfman; Danny Elfman 'nyadar' score pada saat nonton The Day The Earth Stood Still yang score-nya dibuat oleh Bernard Herrmann. Bahkan untuk remake film Psycho (1998), Elfman dan Steve Bartek mengaransemen musik asli asli Psycho, plus musik orisinal. Seharusnya Elfman tidak ada masalah untuk membuat score film Hitchcock ini.
Urutan rilis film-film Danny Elfman menjadi sebagai berikut: Frankenweenie (25 September 2012), Silver Linings Playbook (21 November 2012), Oz: The Great and Powerful (8 Maret 2013), Promised Land (28 Desember 2012), Hitchcock (8 Februari 2013), dan Epic (17 Mei 2013).
Kraft-Engel Management mengumumkan dua proyek baru untuk Danny Elfman yaitu Promised Land dan Hitchcock. Promised Land adalah film terbaru Gus van Sant yang dibintangi oleh antara lain Matt Damon dan Frances McDormand. Film ini akan dirilis secara terbatas di Amerika pada tanggal 28 Desember 2012 agar bisa masuk dalam berbagai penghargaan film.
Film ini menjadi film keenam kerja sama Gus van Sant dengan Danny Elfman, sebelumnya mereka bekerja sama di To Die For (1995), Good Will Hunting (1997), Psycho (1998), Milk (2008), dan Restless (2011). Good Will Hunting dan Milk mendapatkan nominasi Academy Awards untuk best score. Untuk film Psycho, Danny Elfman bersama Steve Bartek kebayakan hanya mengaransemen musik asli karya Bernard Herrmann namun ada juga musik orisinal buatan Elfman berdasarkan score asli Psycho.
Urutan rilis film-film Danny Elfman menjadi sebagai berikut: Frankenweenie (25 September 2012), Silver Linings Playbook (21 November 2012), Oz: The Great and Powerful (8 Maret 2013), Promised Land (28 Desember 2012), Hitchcock (8 Februari 2013), dan Epic (17 Mei 2013).
American Youth Symphony akan mengadakan lagi konser bersama Danny Elfman pada tanggal 28 April 2013, berikut kutipannya:
After the tremendous success of the Project’s first year, Danny Elfman’s music returns! This project presents a unique opportunity to hear the famed composer’s brilliant music in concert.
Symposium – 4 pm
David Newman guest conductor
Jon Burlingame moderator
Danny Elfman composer
Concert – 7 pm
Alexander Treger conductor
David Newman guest conductor
Jon Burlingame host
PROKOFIEV Lieutenant Kije Suite
ELFMAN Program to include film excerpts and music from Alice in Wonderland and Big Fish
Baca lengkapnya di sini.
Studio: The Weinstein Company, Mirage Enterprises
Sutradara: David O. Russell
Composer: Danny Elfman
Tanggal rilis film: 21 November 2012
Tanggal rilis album: ?
Label: ?
Minggu lalu beredar kabar bahwa Danny Elfman menjadi composer untuk film drama-komedi Silver Linings Playbook. Film ini diadaptasi dari novel The Silver Linings Playbook karya Matthew Quick. Sutradara film ini terakhir menyutradarai film tinju The Fighter yang banyak mendapatkan penghargaan, termasuk Best Supporting Actor dari Academy Awards untuk Christian Bale. Silver Linings Playbook dibintangi oleh antara lain Bradley Cooper, Jennifer Lawrence, Robert Deniro, Julia Stiles, dan Chris Tucker.
Menarik juga.. di awal karirnya, karena musiknya untuk Pee Wee's Big Adventure, Danny Elfman jadi banyak mengerjakan musik komedi seperti Back to School, Hot to Trot dan lain-lain. Ia pernah mengatakan bahwa dia 'clueless' jika diminta membuat score untuk genre romantic comedy. Sekarang ia kembali mengerjakan musik untuk film komedi, tepatnya drama-komedi yak.
Urutan rilis film-film Danny Elfman menjadi sebagai berikut: Frankenweenie (25 September 2012), Silver Linings Playbook (21 November 2012), Oz: The Great and Powerful (8 Maret 2013), dan Epic (17 Mei 2013).
Studio: Tim Burton Productions
Sutradara: Tim Burton
Composer: Danny Elfman
Tanggal rilis film: 5 Oktober 2012
Tanggal rilis album: 25 September 2012
Label: Walt Disney Records
Track list:
1. Frankenweenie Disney Logo
2. Main Titles
3. Mr. Burgermeister/Noses Meet
4. Game of Death
5. The Funeral
6. Electricity
7. Re-Animation
8. Sparky's Day Out
9. Dad's Talk
10. The Bride/Edgar Knows
11. Invisible Fish/Search for Sparky
12. A Premonition
13. The Speech
14. Mom's Discovery/Farewell
15. Getting Ready
16. Making Monsters
17. Pool Monsters Attack
18. Mad Monster Party
19. Final Confrontation
20. Happy Ending
21. Alternate Main Titles (bonus track)
22. Over the Fence (bonus track)
Studio: Tim Burton Productions
Sutradara: Tim Burton
Composer: Danny Elfman
Tanggal rilis film: 5 Oktober 2012
Tanggal rilis album: 25 September 2012
Label: Walt Disney Records
Track list:
“Strange Love” – Karen O
“Electric Heart (Stay Forever)” – Neon Trees
“Polartropic (You Don’t Understand Me)” – Mark Foster
“Almost There” – Passion Pit
“Pet Sematary” – Plain White T’s
“With My Hands – Kimbra
“Everybody’s Got a Secret” – AWOLNATION
“Immortal” – Kerli
“My Mechanical Friend” – Grace Potter featuring The Flaming Lips
“Lost Cause” – Imagine Dragons
“Underground” – Grouplove
“Building a Monster” – Skylar Grey
“Witchcraft” – Robert Smith
“Praise Be New Holland” – Winona Ryder
Ini adalah song album-nya yang berisi lagu-lagu dan tidak ada score track dari Danny Elfman. "Strange Love" adalah lagu untuk end credits. Baca beritanya di sini.
Tanggal 19 Juli yang lalu, selain Batman The Animated Series vol. 1, La-La Land Records juga merilis volume 2-nya, berikut kutipannya:
Literally years in the making, La-La Land Records and Warner Bros. proves the wait was worth it with this amazing 4-CD set of previously unreleased music from arguably the greatest animated television series of all time, BATMAN THE ANIMATED SERIES! Produced by MV Gerhard and mastered by James Nelson, this 2nd Volume 4-CD set takes you through a treasure trove of astounding orchestral scores; music that rivals any blockbuster feature film. Composers Shirley Walker, Harvey R. Cohen, Carlos Rodriguez, Lolita Ritmanis, Michael McCuistion, Carl Swander Johnson and others are musically represented here, as well as Danny Elfman's iconic theme. The 36 page CD booklet features exclusive, in-depth liner notes from writer John Takis. Limited Edition of 3500 Units.
Berikut ini komentar dari produsernya:
"A Piece of Film Music History"
That's something I wrote a few months back while I was finishing up our 4 disc set for BTAS Vol 2. While sifting through Shirley's personal collection of music we came across something marked "Danny's Batman Theme". At first I thought it was going to be a demo for the BTAS theme, then I listened to it. Clocking in at 2 minutes and change was a piano demo for the theme from Danny Elfman's 1989 score...filled with some mistakes and not quite complete. I just about wet my pants. The score that got me to fall in love with film music -- here in my hands -- is the initial demo cut for the producer's to listen to.. .to say Yeah or Nay on the composer and his now iconic theme. It's the score that launched Elfman's career into the stratosphere and help establish that comic book sound for years to come.
I know some of you out there, you Grumpy Gus', will poo-poo all over this discovery and my proclaimation, but I don't care. This IS a part of film music history and I am very happy to share it with those who will appreciate it as much as I did. For those of you who picked up the BTAS Vol 2 set -- it's an easter egg on disc 1 at the end.
Enjoy!
MV
Lihat lengkapnya, termasuk track list-nya di sini.
Tanggal 19 Juli yang lalu La-La Land Records merilis ulang Batman The Animated Series: Vol. 1, berikut kutipannya:
Back by popular demand, La-La Land has re-issued its 2008 sold-out title for the legions of BTAS fans who missed out on this dynamite release's initial debut. This "second edition" re-issue is virtually identical to the 2008 version, except the bonus tracks "Gotham City Overture" and "Music of the Bat" have been removed to preserve the integrity of the initial release.
The thrilling orchestral music from the acclaimed Warner Bros. / D.C. Comics animated series BATMAN: THE ANIMATED SERIES is unleashed again in this spellbinding 2CD Limited Edition pressing. Composer Shirley Walker (WILLARD, MEMOIRS OF AN INVISIBLE MAN, FINAL DESTINATION 1-3, THE FLASH), along with Lolita Ritmanis and Michael McCuistion (BATMAN BEYOND, TEEN TITANS), and Danny Elfman's iconic "Batman Theme", revolutionized animated TV music with robust, full-blooded music that propelled BATMAN: THE ANIMATED SERIES to lofty critical and artistic heights, enriching the The Dark Knight's legacy. CD booklet features in-depth liners, including comments from writer/producer Paul Dini and composers Lolita Ritmanis, Michael McCuistion and Danny Elfman. Limited Edition of 5000 Units.
Baca lengkapnya termasuk track list-nya di sini.
Film Music Magazine merekomendasi soundtrack untuk bulan Juni 2012, termasuk Men in Black 3, berikut kutipannya:
Who ya gonna call when it’s time to bust some illegal aliens? The answer of course for team Tommy and Will is Danny Elfman, who dons his dark sunglasses and suit to hit the trail with the Men in Black. That proves to be a real charm the third time out for this time-travelling entry that gives a huge, rejuvenating boost to the franchise after an unholy second film (not that Elfman’s music has ever been worse for the wear). Time travel’s the McGuffin that brings Agent J and K back to the 60’s to stop another alien plot to blast the Earth, a period that Elfman acknowledges with an acid rock electric guitar, while saluting the 1950’s retro bug-eyed monster premise with humorous use of the ooo-wee-ooo Theremin. But mostly, this score doesn’t fix what was never broken, relying once again on a great main theme to power through its frenetic action, along with the bongos of Will Smith’s unaging urban hipness. Elfman is at his best when handling satirical genre pics like this, “Hellboy 2” and “Dark Shadows,” bringing on the glee of a kid playing cowboy in a room full on creature suits, an energy which reaches new, delirious heights here while never letting us forget the planet’s in truly dramatic peril. At once bewaring its alien rogues gallery while luxuriating in the choral magic of the nicer E.T.’s, Elfman also manages some truly touching flute and guitar emotion in the ties that bind J and K through the decades, a nice shot of character feeling that makes “MIB3” human after all.
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Score produced by Danny Elfman and Steve Bartek
Orchestrations by Steve Bartek, Edgardo Simone and Dave Slonaker
Orchestra conducted by Pete Anthony
Score recorded and mixed by Dennis Sands and Shawn Murphy
Additional arrangements by Edward Shearmur and T.J. Lindgren
Score conforming by Deborah Lurie
Score recorded at Sony Picture Studios, Streisand Scoring Stage and Studio Della Morte
Score mixed at Todd AO West
Score published by Colpix Music, Inc. (BMI), administered by Sony/ATV Music Publishing LLC
Berikut ini kutipan lengkap dari sutradara Barry Sonnenfeld:
The first time I met Danny I was intimidated. I had to walk through a spooky dark forest to get to his house. I was meeting one of my favorite composers of film scores, and I was about to hear the first cues he had written for Men in Black. (I won't mention his stuffed cat).
Danny's initial music was everything I wasn't looking for. It was light, breezy and funny. After taking a long breath, I told him what I hoped he'd do for the film: "Make MIB more manly. More emotional. Don't help me with the comedy. Please."
Danny got it instantly. His score for Men in Black was everything I hoped it would be. He made MIB feel big and muscular. His score for MIB3 is even more. Danny has creatively taken the familiar and made it new and unique. He uses the perfect themes from the first movie, and makes them new, hip, energetic and emotional.
In addition to writing a fantastic score, Danny is just great to work with. Smart, easy, friendly, funny, relaxed, surprisingly ego-less, and brilliant.
Thank you, Danny.
Berikut kutipan dari situs Runmovies:
Generally I don’t deal with temp scores. I don’t even listen to them. PLANET OF THE APES and RED DRAGON were exceptions where I did want to listen to the temp because I wanted to know what to avoid - both of those having previous movies and scores that went with them. One is a remake and one is a prequel to a really well known and very well done movie. I wanted to be aware of what Howard Shore had done in SILENCE OF THE LAMBS, and then I thought, “All right, that’s what it is. I neither want to put all my energy into avoiding any nuance that’s similar, but also I want to make sure that I’m not directly falling into something that is the same.” If you put all your energy into avoiding something, then it becomes an obsessive thing that will eventually dictate the tone of the score, and I didn’t want to do that. Howard and I happen to have a lot of tonalities that are very similar. In PLANET OF THE APES, though, I heard the Jerry Goldsmith score and said, “What I’m doing is so radically different, I don’t even have to think about it. Having heard it now, I won’t even think about it again.” With RED DRAGON, it was different because tonally the movies are very similar, so it was something I had to be aware of. I knew already that Howard was one of the few composers with whom I’m going to have a certain amount of overlapping even on films that have nothing to do with each other. When SILENCE OF THE LAMBS came out, I remember thinking, “Wow, that was very close to BATMAN!” The main theme of BATMAN was working exactly the same scale as SILENCE OF THE LAMBS. I remember being relieved that I hadn’t been exposed to it because some people might have said, “Oh, one’s copying the other.” I knew he wasn’t referring to me in any way, but I’ve been aware since then that we tend to use the same kind of minor scale repeating motifs. Even though ultimately his style is much different than mine, there is an area, especially in a kind of modal, melodic, scale dynamic, that is similar, and I needed to be aware of that.
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