"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."Baca lengkapnya di sini.