Sabtu, Desember 14, 2013

41ST ANNUAL ANNIE AWARDS

Annie Awards, yaitu penghargaan untuk film-film animasi, telah mengumumkan nominasi-nominasinya, berikut untuk kategori musik film:

OUTSTANDING ACHIEVEMENT, MUSIC IN AN ANIMATED FEATURE PRODUCTION
Alan Silvestri - The Croods
Henry Jackman - Turbo
Mark Mothersbaugh - Cloudy With A Chance Of Meatballs 2
Heitor Pereira, Pharrell Williams - Despicable Me 2
Danny Elfman - Epic
Randy Newman - Monsters University
Kristen Anderson-Lopez, Robert Lopez, Christophe Beck - Frozen
Dominic Lewis - Free Birds

Pengumuman pemenang akan dilakukan tanggal 1 Februari 2014. Baca nominasi lengkapnya di sini.

American Hustle

Studio: Annapurna Pictures, Columbia Pictures (distributor)
Sutradara: David O. Russell
Composer: Danny Elfman
Tanggal rilis film: 13 Desember 2013
Tanggal rilis album: 6 Desember 2013 (song album)
Label: Legacy Recordings

Track list:
1. Jeep’s Blues – Duke Ellington
2. Goodbye Yellow Brick Road (Album Version) – Elton John
3. White Rabbit (Arabic Version) – Mayssa Karaa
4. 10538 Overture – Jeff Lynne
5. Live and Let Die – Wings
6. How Can You Mend a Broken Heart – The Bee Gees
7. I Feel Love – Donna Summer
8. Don’t Leave Me This Way – Harold Melvin & The Blue Notes
9. Delilah – Tom Jones
10. I’ve Got Your Number – Jack Jones
11. Long Black Road – Jeff Lynne
12. A Horse with No Name (Album Version) – America
13. Stream of Stars – Jeff Lynne
14. Live to Live – Chris Stills
15. Irving Montage – Danny Elfman

Album ini adalah song album dan hanya berisi satu score track dari Danny Elfman sepanjang 1:55 menit. Belum ada kabar mengenai rilis dari score album-nya. Albumnya sudah bisa dibeli di iTunes sejak beberapa hari yang lalu, cek di sini.

Minggu, Desember 08, 2013

Restless

Tanggal 7 Desember kemarin, Movie Wave me-review Restless, berikut kutipannya:
While it’s a relatively simple score – mostly played by a small ensemble, often featuring guitars and little else, sometimes a piano, sometimes xylophone or marimba – it must have been tricky to find the right tone, avoiding maudlin sentiment, avoiding Hollywood romance. The composer pulls it off expertly – it doesn’t just avoid those things, it avoids taking an overly stylised “quirky” sound, which is often what happens when a film composer tries to be clever on a film like this.
The bulk of the music is made up of very pleasant, very attractive melodies. There is whimsy, certainly, but never excessively. And there are quirky touches, for sure – it’s hard not to think of Thomas Newman (and specifically Six Feet Under) at times. But this is music that is full of, of all things, life. It’s full of the excitement of young people growing up, coming of age. The instrumental choices make the music always feel close to the heart, the homely instruments providing an instant connection between audience and characters. A couple of cues have a full string section, but even in them there’s no excessive sentiment. Only briefly, towards the end of the score, does the music take a slightly darker turn – and it still resolves to something lighter. Restless is clearly not a major score in Elfman’s career, but despite being one of his most low key it’s actually one of his loveliest.
Baca lengkapnya di sini.

Sabtu, November 23, 2013

'Hunger Games' Soundtrack Producer Reveals Truth About The Music You Never Heard

Tanggal 18 November yang lalu, MTV News melaporkan hasil obrolan mereka dengan T Bone Burnett, berikut kutipannya:
Burnett had originally began work on the soundtrack with composer Danny Elfman, known for his work on Tim Burton's "Batman" movies, Sam Raimi's "Spider-Man" and many other films. The two planned on creating a futuristic sound with the help of Arcade Fire's Win Butler and Régine Chassagne, but that work was, according to Burnett, cut short when director Gary Ross decided to change things up on the soundtrack.
"Danny Elfman and I were collaborating on it, and we were working with Arcade Fire. We had written several really beautiful pieces," Burnett said. "The director wanted to take over the music, so he fired Danny. He sort of stopped this process in the middle, which is a bummer. It really is because Danny was some beautiful [music]." Burnett's take on the event differ from the official reports, including a confirmation from Entertainment Weekly, that Elfman has dropped out due to a conflict in his schedule.
Baca lengkapnya di sini.

Kamis, November 07, 2013

restless: limited edition

Studio: Imagine Entertainment, Sony Pictures Classics (distributor), Columbia Pictures (distributor)
Sutradara: Gus Van Sant
Composer: Danny Elfman
Tanggal rilis film: 12 Mei 2011
Tanggal rilis album: 5 November 2013
Label: La-La Land Records

Track list:
1. titles 2:41
2. battleship 1:09
3. reconciliation 1:26
4. sorry for your loss 1:54
5. waterbirds 1:43
6. meet the parents 2:20
7. on the beach 2:09
8. hiroshima 1:06
9. morning affair 1:33
10. morgue 1:18
11. crime scene 2:45
12. death scene 2:06
13. happy dead girl 1:11
14. battleship 2 1:50
15. a ghost 1:00
16. the letter 1:34
17. parents' grave 1:49
18. weepy donuts 3:31
19. enoch's goodbye 1:21
total album time: 34:25

La-La Land Records and Sony Pictures Entertainment present the original motion picture score to the 2011 feature film drama restless, starring Mia Wasikowska and Henry Hopper and directed by Gus Van Sant. Renowned composer Danny Elfman (EDWARD SCISSORHANDS, BATMAN, SOMMERSBY, BLACK BEAUTY) crafts another notable original score – a delicate, but stirring work, in the vein of his music for MILK and SILVER LININGS PLAYBOOK, that expertly finds the heart and soul of Van Sant’s delightfully offbeat romantic drama. Produced by Danny Elfman and mastered by Patricia Sullivan at Bernie Grundman mastering, this special release is limited to 2000 units and includes exclusive, in-depth liner notes from film music writer Tim Greiving which feature comments from director Gus Van Sant. The attractive art direction is by Dan Goldwasser.

Klik di sini.

Selasa, November 05, 2013

American Youth Symphony to Present ELFMAN PROJECT II Concert, 11/24

Melanjutkan konser tahun lalu, American Youth Symphony akan menggelar konser Danny Elfman kedua, berikut kutipannya:
The acclaimed American Youth Symphony (AYS), one of the nation's leading professional training orchestras for musicians ages 15 to 27, continues its 49th season with "Elfman Project II," a free concert that is part of a multi-year exploration of the music of four-time Academy Award-nominated composer Danny Elfman, on Sunday, November 24, 2013, 7 pm, at UCLA's Royce Hall.
Guest conductor David Newman, himself an Oscar-nominated composer, sought-after conductor and AYS alumnus and Immediate Past President, leads the orchestra in the premieres of two new concert suites, Milk Suite and Oz the Great and Powerful Suite, both assembled by Newman and Max Mueller for the occasion from Elfman's compelling scores for films directed by Gus Van Sant and Sam Raimi, respectively, and performed to film clips from the movies.
In addition, Newman conducts music from Alice in Wonderland and Spiderman, and the Big Fish Suite, composed by Elfman for the Tim Burton films of the same name.
The event kicks off with a free symposium, at 4:30 pm, including a performance of Elfman's Overeager Overture, and a panel discussion moderated by esteemed journalist and author Jon Burlingame, focusing on the nuts and bolts of music's role in films and how composers work with directors.
Baca lengkapnya di sini.

The Elfman Project

FSM melaporkan konser American Youth Symphony di Royce Hall, UCLA, Los Angeles tanggal 29 April 2012 yang lalu. Berikut kutipannya:
Newman sees the opening cue to Batman as a signature example of Elfman’s mastery for musical storytelling; moreover, how it perfectly translates to a concert setting. “Batman has a six-note motif. The beginning of the film is in this imitative counterpoint. The first five notes of that motif kind of circle around itself then they pause at a minor triad. Then there’s a big huge build to this major triad. Aside from it being compositionally interesting it’s really interesting how it delineates that character. Honestly, we’re so conditioned to these superhero movies now. There’s so many of them. Back then it was a really unique thing to have a character that was—I don’t want to say an anti-hero—but had an angsty past, yet is very heroic. In these first few bars all that stuff is told, which is what I think is fun and interesting about film music, that is in some ways different from concert music.”
Batman was a fresh challenge for Elfman, who up to that point in his film career had only scored comedies. During the symposium, Elfman reflected on creating a new musical palette that would complement Tim Burton’s gothic stylings. “There’s no model for any of Tim Burton’s films. There was no model for Pee-wee, Beetlejuice, Edward or Batman. There was nothing to use as a template. Because at that point for big action cartoon adventure, the only model was John Williams.”
One of the many reasons Newman chose the three scores to perform were to showcase Elfman’s orchestrations, which are an indelible part of his signature sound. “There is always a tremendous rhythmic energy in his music. It’s also very angular. The way he orchestrates is very high, very low. There’s contrabassoon, a lot of tuba, a lot of piccolo, a lot of oboe playing high, clarinet playing high. There’s a lot in the high and low ranges. You hear lots of tuba, lots of low piano, lots of bass clarinet doing little things; then they get bigger and bigger.”
To counter the Burton films in the program, Newman included the finale from Elfman’s Americana-flavored score to Sommersby. While the bulk of the film was orchestrated by Steve Bartek, the finale was orchestrated by the late veteran orchestrator Jack Hayes. With guitar and banjo, Sommersby deftly features Elfman’s ability to score against “type,” conquering multiple genres and styles. Newman reflects: “I think the most difficult things in film music is you have a small amount of time to say something. How do you say it in an abstract way? Sommersby has this beautiful octave-ish theme, that has a wide interval skip. In other words, the theme almost uses an octave scale and it’s developed and used over and over and over and builds, modulates in bits.”
Bagi pelanggan FSM, baca lengkapnya di sini.

Danny Elfman's Incredible Concert of Tim Burton Film Music: Our Review

Berikut kutipan dari review untuk konser Danny Elfman di Los Angeles:
The finest moments included the suite from Edward Scissorhands, a fan-favorite dripping with icy heartbreak and anchored by Elfman's Jewish folk melody for Edward (with a virtuosic interlude provided by a "gypsy band," led by violinist Sandy Cameron's incendiary fiddling); the choral ode to Alice in Wonderland, an infectious melody that rides a minor-third ostinato through Lewis Carroll's brain by way of Burton's; and (my personal favorite) the suite from Big Fish, which began with a bittersweet guitar/violin duet of the score's love theme and bubbled up into choral-backed, orchestral triumph.
The crowd went the wildest for Elfman's own appearance onstage, as he strutted out near the end to give voice to the skeletal "pumpkin king." The Nightmare Before Christmas is one of Elfman's greatest achievements (his songs and score are now perennial classics), and it was priceless to watch him gleefully personalize the performance with his own vocals. He hasn't sung publicly in the United States since the farewell concert of his old band, Oingo Boingo, on Halloween night in 1995, so his presence felt extra charged -- and his performance was electric.
Baca lengkapnya di sini.

Epic

Bulan Juni 2013 yang lalu, FSM me-review soundtrack Epic dan memberi rating 4, berikut kutipannya:
As delightful as the opening “Leafmen” is, its Celtic dance rhythms and Riverdance orchestral feel are reminiscent of Patrick Doyle’s recent work on Brave. There are a few moments in the opening “Pursuit” where hints of the classic Danny Elfman style peak through, and some of the action writing bears his stamp as well. Other elements feel more akin to a Remote Control project. That said, Elfman’s melodic construction is still as strong as ever, and he maintains a magical lightness even in the score’s darker moments, a telling element of the composer’s masterful style. The wordless choir may not be “la-la”-ing as much as in the past, but the general effect is the same.
The comedic writing, as in “Meet Dad,” is one of the score’s driving elements. “The Selection” is another standout cue, with magical orchestral writing featuring bells, piano arpeggios, wordless chorus (also appearing ethereally in “Rings of Knowledge,” the most Elfmanian cue of the CD), and solo wind lines. The following “Ambush” is another amazing action track with intriguing dissonance as it begins.
Bagi pelanggan FSM, baca lengkapnya di sini.

Oz the Great and Powerful

Bulan Maret 2013 yang lalu, FSM me-review soundtrack Oz the Great and Powerful, berikut kutipannya:
The main title sequence is an old-fashioned credit overture that starts off with the main theme as a lovely music box melody, a natural choice since music boxes play an important role in the plot, before blasting off with a stirring orchestral passage that starts the adventure off right. The main theme doesn’t get to shine here to the extent of the one in “Alice’s Theme” from the aforementioned Wonderland, but it does get the full orchestral treatment in my favorite cue, “Fireside Dance.” From the subdued tones in the film’s black-and-white intro scenes, to the brash orchestrations that begin with the tornado, to James Franco’s arrival in Oz (and color), Elfman creates a lovely world, especially during the moments of discovery as in “A Strange World” and “Treasure Room/Monkey Business.”
After Elfman’s miserable experience on Spider-man 2, it seemed like the rich collaboration between him and Raimi that included such memorable scores as Spider-man and Darkman had been permanently severed. Thankfully, clearer and cooler heads prevailed.
Bagi pelanggan FSM, baca lengkapnya di sini.

Silver Linings Playbook

Desember 2012 yang lalu, FSM me-review soundtrack Silver Linings Playbook, berikut kutipannya:
The opening titles are markedly different from what Elfman has been writing of late. This is a pop-based sound with vocalizations that would feel more at home in an indie-comedy as opposed to a major Hollywood production. The piano and guitar backdrop is supplemented by organ, which lends just a touch of some of the composer’s quirkier side.
While Elfman’s core thematic material is serviceable, the music is so low key that it’s hard to get into as a separate listening experience. “Simple,” one of the tracks here, is also perhaps the best description of this guitar-and-piano score.
Baca lengkapnya di sini, bagi pelanggan FSM.

Frankenweenie

Tahun lalu, FSM me-review soundtrack Frankenweenie, berikut kutipannya:
The music is dramatic, bouncy and at times quite heartfelt, making the whole CD a delightful listen from beginning to end.
The opening track is actually the “Frankenweenie Disney logo,” which is of course the instrumental for “When You Wish Upon a Star,” but here it ends with a surprise Elfman twist. His “Main Title” has both a sincere and playful feel with piano, strings and chorus for a touch of humanity.
“Happy Ending” goes for an Edward Scissorhands vibe and delivers a satisfying sense of conclusion. The album’s two bonus tracks are an alternate version of the “Main Title,” which acts like an end credit piece of sorts, and the brief “Over the Fence.”
Baca lengkapnya di sini bagi pelanggan FSM.

Men in Black III

Tahun lalu, FSM me-review soundtrack Men in Black III, berikut kutipannya:
As for the score itself, it’s a great deal like the ones for the first two films. The M.I.B. theme appears plenty of times to remind you of what you’re watching, the lyrical Kay music makes an appearance, and there are plenty of action tracks that mirror those employed in the earlier outings. Electric guitar is more prominent this time, but there isn’t a whole lot else that reflects the shift to the earlier period in the story.
The album highlight is probably the main title sequence; in about five minutes, Elfman sets up the opening, introduces the main theme, and transitions straight into the underscore. After that, much of the disc is a groovy action-adventure score that picks up momentum and diversity as it goes—fans may actually prefer popping this score into their players rather than revisiting the earlier two. “Under the Bridge” and “The Mission Begins” deliver great action music, while “Mission Accomplished” presents more of the touching Kay music. A key change for the melody moves us into “A Close One,” which in turn gives way to the primary M.I.B. theme. The final track is a“revisited” version of the main titles with female chorus and guitar improvisation against the rhythmic motif of the main theme. The piece feels like an “alternate” version bonus and ends without much fanfare.
Baca lengkapnya di sini untuk para pelanggan.

Dark Shadows

Tahun lalu, tepatnya Mei 2012, situs FSM me-review soundtrack Dark Shadows, berikut kutipannya:
Elfman’s score for Dark Shadows is interesting for several reasons: First, the composer eschews almost all notion of a ’70s period setting, leaving it up to the source songs to provide the same. The latter are available on an effective if eclectic compilation album featuring the likes of Iggy Pop, the Carpenters, Alice Cooper (who cameos in the film) and also curtailed versions of two Elfman tracks. Absent are many of the mannerisms listeners have come to expect from Elfman, leaving room for a large-scale gothic score that’s dark rather than whacky, addressing the 18th-century origins of Barnabas Collins. Secondly, Elfman provides a master class in maintaining a balance of harmony and scary dissonance. The closest comparison might be The Wolfman, which becomes a consistently beautiful listening experience, particularly on the generous album.
Whether or not the Dark Shadows score has to be separated from the film for greater appreciation is debatable, but the album from WaterTower is more than recommendable. On its own, Elfman’s effort is a delicious horror score of strong thematic and orchestrally intricate flavor. The “Prologue” cue is without doubt its poster-piece. Listeners will be drawn to this rather than the middle portion of the disc, for which the finale easily compensates. Taking last year’s Real Steel into consideration as well, there’s no reason anyone should stop seeking out Danny Elfman scores anytime soon.
Baca lengkapnya di sini buat para pelanggan FSM.

Real Steel

Bertahun-tahun yang lalu, tepatnya November 2011, situs FSM me-review soundtrack Real Steel dan memberi rating 3,5. Berikut kutipannya:
Danny Elfman’s score seamlessly combines rock, orchestral and choral elements to create a unique sonic atmosphere for the film. A bold, triumphant theme featuring brass, strings and rhythm section (with former Nine Inch Nails drummer Josh Freese on drums) introduces itself in the album’s opening cue (“Charlie Trains Atom”). This piece of music doesn’t appear until well into the film, but certainly helps shape the disc from the start. Driving, upbeat pop features prominently in cues such as “On the Move” and “Into the Zoo,” while percussive suspense leads to a tender and uplifting conclusion when Max discovers Atom (“Meet Atom”). Dramatic rock mixed with orchestra kicks in during Atom’s training for his first fight (“Atom Versus Twin Cities”), and in the opening moments before the fight begins (“Twin Cities Intro”).
Elfman provides a gentle touch for the film’s more intimate scenes in cues such as “For a Kiss” and “Bonding,” blending acoustic guitar, piano, woodwinds, strings and choir. Some of the score’s most poignant moments take place when Charlie must send Max back to his custodial parents (“You Deserve Better”). Guest vocalist Poe contributes on two acoustic cues (“Why We’re Here” and “Parkway Motel”).
The scoring becomes more intense for the film’s fight sequences, combining rock elements with the orchestra to provide an exciting soundscape for the action, primarily in tracks like “This Is a Brawl,” and for the final fight, “Final Round.” The last cue, “The People’s Champion,” wraps everything up with a climactic re-statement of the main theme. Elfman’s score is a terrific mix of tense action, emotional drama, and heroic excitement, and provides an excellent accompaniment to the film, especially when you can hear it underneath the clanging of metal robot fists.
Baca lengkapnya di sini. Langganan yak.

Rabu, Oktober 30, 2013

RESTLESS

La-La Land Records akan merilis score album Restless, huhuy! Berikut kutipan pengumumannya dari halaman Facebook La-La Land Records:
Next Tuesday, Nov 5, 2013 at 12 pm NOON pst La-La Land Records is honored to be releasing 2 WORLD PREMIERE soundtracks by two of our favorite composers:
First up:
RESTLESS
MUSIC BY DANNY ELFMAN
LIMITED EDITION OF 2000 UNITS
LLLCD 1274
RETAIL PRICE: $19.98

PRODUCED BY DANNY ELFMAN

MASTERED BY PATRICIA SULLIVAN AT BERNIE GRUNDMAN MASTERING
LINER NOTES BY TIM GREIVING
ART DIRECTION BY DAN GOLDWASSER
La-La Land Records and Sony Pictures Entertainment present the world premiere release of Danny Elfman’s score to the 2011 Gus Van Sant dark quirky romantic drama RESTLESS. Scored much in the style of MILK and TAKING WOODSTOCK, this quaint, beautiful little score tugs at the heart strings as well as tickles the funny bone. It’s the story of a terminally ill teenage girl falls for a boy who likes to attend funerals. New interview with director Gus Van Sant are a highlight in the detailed liner notes by Tim Greiving. Dan Goldwasser’s lovely art direction round out the package.
BONUS OFFER: If you purchase RESTLESS directly through the La-La Land Records website you will receive, at absolutely NO CHARGE, a FREE COPY of Danny Elfman’s score to TAKING WOODSTOCK. PLEASE NOTE: Supplies are limited and you are not guaranteed a copy of Taking Woodstock.
Situs resmi LLL ada di sini.

Danny Elfman and his film scores taking center stage at Nokia Theatre

Tanggal 29 Oktober, LA Times memuat artikel mengenai Danny Elfman, berikut kutipannya:
Collaborating with his orchestrator Steve Bartek, Elfman worked intensively over three months to determine the order in which the music should be presented. Then he wrote musical transitions to ensure the pieces from the 15 films would flow seamlessly during the performance.
He also created new passages to bolster some compositions — the up-tempo Gypsy number "Edward the Barber" from "Edward Scissorhands," for one, was extended for the performance. But Elfman wasn't necessarily interested in updating the music, especially the older material, to sound more contemporary.
"I tried not to take an approach of modernizing everything to be as I would do now. That would take away some of the charm of some of the earlier stuff, and I didn't want to do that."
"Serenada Schizophrana" is enjoying a robust afterlife — four selections from it will be featured in the first act of a dance program at Orange County's Segerstrom Center for the Arts, "Diana Vishneva: On the Edge," choreographed by Jean-Christophe Maillot and set to open Nov. 6. The program also features two pieces from Elfman's "Rummy (Not Edited)," taken from the score of Errol Morris' documentary "The Unknown Known: The Life and Times of Donald Rumsfeld."
Baca lengkapnya di sini.

Sabtu, Oktober 19, 2013

DANNY ELFMAN INTERVIEW: "THIS IS DAUNTING IN THE EXTREME..."

The Big Issue mewawancarai Danny Elfman, berikut kutipannya:
My youngest son Oliver is eight. My first conscious moment each day is a kiss goodbye when he goes to school. I then hopefully get a few hours more sleep before I start my day. I try to see him either at dinner or at bedtime. That’s all I see him during the week. On Saturday nights we have movie night. Right now we’re going through all the films of the Japanese animator Hayao Miyazaki. My favourite is always going to be Spirited Away. Oliver’s is between Princess Mononoke and My Neighbour Totoro.

I shuttle back and forth to London a lot when I’m working with Tim [Burton], which we will be soon on Big Eyes. If we’re not talking about work, we’ll go and sit in a pub for a pint and talk about how our families are doing – I am godfather to his son, Billy. Other than that, we usually are talking about music and the films and work. We’re both rather obsessive.
Baca lengkapnya di sini.

Epic

Movie Wave me-review soundtrack Epic, berikut kutipannya:
An early highlight is “The Selection”, where an unmistakably Elfmanish choir is added to a more dynamic, dramatic arrangement of the fluid main theme. But the echoes of Powell are heard a few more times – the very next cue, “Ambush”, could easily be by the British composer. A key difference, particularly compared with Powell’s more recent scores for animations, is that there seems to be a greater structure to Elfman’s music – it’s still mostly at a frantic pace, but the composer keeps it all musical, the album isn’t a parade of tiny cues flitting all over the place – and that coherent sound certainly helps with the enjoyment. When Elfman does slow down the pace, this offers some of the score’s most magical moments – “Tara’s Gift” is absolutely lovely (and you’d never mistake it for anyone other than Danny Elfman), “Antlers” is (appropriately enough) pretty epic, and best of all is the conclusion, the sweeping “Return”, which is approaching vintage Elfman. The frequent action music is lively and energetic, indeed the whole album is entertaining, though it lacks truly the truly memorable melody that would elevate it to something a bit more special and allow it to be considered with the composer’s best.
Baca lengkapnya di sini.

Minggu, Oktober 13, 2013

Music From the Films of Tim Burton Concert Review



IGN me-review konser Danny Elfman, berikut kutipannya:
“Thank you for providing me with the greatest night of my life," said composer Danny Elfman at the end of his triumphant Royal Albert Hall gig on Monday night, in which he played music from the many Tim Burton movies that he has scored.
But the biggest cheer of the night was saved for The Nightmare Before Christmas, with Elfman himself finally taking to the stage and quickly bringing the house down with a rendition of Jack Skellington’s greatest hits. Elfman’s vocals were note-perfect, while it was a blast watching him act out each verse and chorus.

And a wonderful night was brought to a fitting close when Tim Burton joined his musical collaborator onstage for a lengthy and well deserved standing ovation, directed at two unique, original and quite brilliant talents.
Baca lengkapnya di sini.

Rabu, Oktober 09, 2013

BLACK BEAUTY: LIMITED EDITION

Black Beauty: Limited Edition telah dirilis oleh La-La Land Records, HUHUY! Berikut kutipannya:
La-La Land Records, Warner Bros. and WEA present the latest reamstered and expanded title in our collection of notable scores celebrating Warner Bros.'90th Anniversary-the original motion picture score to the 1994 family drama BLACK BEAUTY, starring Sean Bean and David Thewlis, and directed by Caroline Thompson. Lush, gorgeous, but also stirring and strong in spirit, Mr. Elfman’s score is much like the film’s titular creature and is considered to be one of his finest works. This deluxe treatment, expanded to nearly 79 minutes, finally gives this important film score the release it has always warranted. Produced by Dan Goldwasser and mastered by James Nelson, this special release, limited to 3000 Units, features attractive art design by Dan Goldwasser and exclusive, in-depth liner notes from film music writer Jeff Bond, with comments from the composer and the film’s director. A must for all film music enthusiasts!
Baca lengkapnya di situs LLL di sini.

Senin, Oktober 07, 2013

BLACK BEAUTY EXPANDED LIMITED EDITION

La-La Land Records mengumumkan di halaman Facebook-nya bahwa mereka akan merilis BLACK BEAUTY EXPANDED LIMITED EDITION, berikut kutipannya:
Coming October 8, 2013 at 12 pm pst
Coming out next Tuesday we have one more title to add to our catalog:
BLACK BEAUTY EXPANDED LIMITED EDITION
MUSIC BY DANNY ELFMAN
LIMITED EDITION OF 3000 UNITS
LLLCD 1273
RETAIL PRICE: $19.98

REISSUE PRODUCED BY DAN GOLDWASSER
REISSUE MASTERED BY JAMES NELSON
LINER NOTES BY JEFF BOND
ART DIRECTOR: DAN GOLDWASSER

La-La Land Records, Warner Bros and WEA are proud to announce the expanded edition to one of Danny Elfman's greatest scores BLACK BEAUTY, written and directed by Caroline Thompson. Lush, gorgeous, melodic and inspirational -- this magnificent score gets the deluxe treatment "La-La Land style" with an expanded program clocking in at nearly 79 minutes, tracks remastered by James Nelson, and a 24 page booklet with in depth liner notes by Jeff Bond, including comments by composer Danny Elfman and writer/director Caroline Thompson. This is our favorite non-Burton score of Elfman's! He taps into the soul of the characters that made his scores to Edward Scissorhands and Dolores Claiborne so memorable. A must for any Elfman or film music fan alike!

TRACK LISTING

1. Main Titles 2:34
2. Birth (“Baby Beauty”) 4:41
3. Gang on the Run** / Bye Mum* 4:37
4. Beauty* 1:18
5. Merrylegs 2:03
6. Kicking Up a Storm 1:36
7. Jump for Joy (film version)* 1:02
8. The Rescue* 2:27
9. Sick 3:18
10. He’s Back (Revival) / Frolic 4:00
11. The Fire* 3:42
12. Carriage* (unused) / The Dance / Bye Merrylegs 3:23
13. Goodbye Joe 1:18
14. Ginger Snaps 3:21
15. Wound* 0:52
16. Wild Ride / Dream 2:14
17. Injury* / Job* 2:37
18. Is It Joe? 1:21
19. Black Jack (“Mommy”)** 1:14
20. Nuns* / In the Country 3:35
21. Poor Ginger! (film version)* 3:50
22. Sick Jerry* 1:58
23. Bye Jerry 1:12
24. Hard Times / Epilogue: Saved (“Memories”) 5:30
25. End Credits 1:38

Total Score Time 66:10

BONUS TRACKS

26. Street Violin* (source) 0:42
27. Bye Mum* (alternate) 0:46
28. Job* (alternate intro) 1:07
29. Is It Joe?* (alternate) 1:21
30. Nuns* (alternate) 0:57
31. Sick Jerry* (alternate) 1:58
32. Jump for Joy (album version) 1:02
33. Poor Ginger! (album version) 4:19

Total Album Time: 78:44

*previously unreleased
** contains previously unreleased material
Facebook page-nya LLL ada di sini. Black Beauty, a must have!!

Danny Elfman conquers his stage fright for rare show

Berikut kutipan dari artikel Birmingham Mail tanggal 4 Oktober:
“I had great stage fright for 23 years, even when I was performing with my band Oingo Boingo, and I’ve never got over it. When I stopped performing, I felt no sense of regret at all. I was relieved not to have the anxiety any more.
“One of my greatest fears is still speaking in front of an audience, that’s even worse than singing. I had to give away an award at an event recently and even though the audience was friendly, my voice was shaking.
“When they asked me to sing some of Jack Skellington’s songs from The Nightmare Before Christmas, live for the first time in these concerts, I said ‘Sure, why not?’. Now I’m thinking ‘oh my god, what have I done?’.
“I am extremely nervous. I’m having heart palpitations. I just hope I’ll be able to get a hold of the beast and tame it, although I’m sure my first few moments of singing will be terribly shaky.”
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Danny Elfman on Tim Burton, The Simpsons and his return to singing live

Berikut kutipan dari artikel The Guardian tanggal 2 Oktober:
More remarkably, he will sing compositions he wrote and recorded in 1993 forThe Nightmare Before Christmas. It will be the songs' first live performance (not counting the millions of children who howl along to them in front of the TV), and the first time Elfman has sung on stage in 18 years.
"I'm scared shitless," he says, raising a weak smile. To be perfectly honest, he looks it. He's a slight, softly-spoken man with orange-tinted specs that match his marmalade hair. We are seated on sofas in a cavernous, wood-floored room in his Los Angeles base, Studio Della Morte, where instruments (several gongs, a discarded accordion on the floor) compete for space with macabre props (cow skulls, dolls in various states of metamorphosis or dismemberment) and oddball paintings (a hare with boxing gloves). "Until I get to rehearsals this Saturday with the BBC Orchestra, I do not know what to expect. It would be typical for me to have bitten off more than I can chew. If I hold true to form I'll have gone a bit too far."
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Minggu, September 29, 2013

American Hustle

Danny Elfman akan membuat musik film untuk American Hustle. Film drama ini disutradarai oleh David O. Russell dan dibintangi oleh Christian Bale, Bradley Cooper, Jeremy Renner, Robert De Niro, Amy Adams, dan Jennifer Lawrence. Studio yang memproduksi adalah Annapurna Pictures dan akan didistribusikan oleh Columbia Pictures secara luas tanggal 25 Desember 2013. Cek filmnya di sini.

Ini adalah kerja sama kedua kalinya antara Danny Elfman dengan David O. Russell, film pertama mereka Silver Linings Playbook (2012).

Film-film yang musiknya akan dibuat oleh Danny Elfman adalah American Hustle (25 Desember 2013), Mr. Peabody & Sherman (7 Maret 2014), Big Eyes (28 Agustus 2014), dan Miss Peregrine's Home for Peculiars (31 Juli 2015).

Mr. Peabody & Sherman

Danny Elfman akan membuat musik film untuk film animasi Mr. Peabody & Sherman. Film ini disutradarai oleh Rob Minkoff, dan suara-suara karakternya diisi oleh antara lain Ty Burrell (Mr. Peabody), Max Charles (Sherman), Stephen Colbert, Stanley Tucci, dan Mel Brooks. Studio yang memproduksi adalah DreamWorks Animation dan studio yang mendistribusi adalah 20th Century Fox. Ini akan menjadi film pertama Danny Elfman untuk DreamWorks. Jadwal rilis film ini adalah tanggal 7 Maret 2014. Cek filmnya di sini.

Film-film yang musiknya akan dibuat oleh Danny Elfman adalah American Hustle (25 Desember 2013), Mr. Peabody & Sherman (7 Maret 2014), Big Eyes (28 Agustus 2014), dan Miss Peregrine's Home for Peculiars (31 Juli 2015).

Sound of Cinema: Composing for Hollywood

BBC mewawancarai beberapa composers, termasuk Danny Elfman. 
Journalist Jonathan Coffey is in Los Angeles to meet some of today's leading film composers to assess the business of writing for the movies.
Dengarkan wawancaranya di sini.

Danny Elfman’s new big adventure in music

Tanggal 29 September, The Scotsman merilis artikel mengenai Danny Elfman, berikut kutipannya:
The idea stemmed from a 25th anniversary Burton/Elfman audio boxset which was released in 2011. “That really forced me to listen to everything again,” says Elfman, “and suddenly it was like, my god, I’d forgotten half of what I’d done. So that kind of opened up my head, and my agent then started pestering me, how about some concert suites? When the offer came in to put on this concert at the Albert Hall it was more than I bargained for, a suite of all the films, but it was the motivation to do it.”
He says the process of compiling the show took around three months. “Going back to the early scores was really quite startling,” he says. “They felt extremely raw, the orchestration sounded almost like I was listening to somebody else, but just because it’s naïve doesn’t make it bad. For these concerts I didn’t want to mess it up and make it sound too slick and overdone, just because I may know a few more tricks now than I did on my first score.”
...Elfman himself will play alongside the BBC Concert Orchestra and sing onstage for the first time since his formative post-punk group Oingo Boingo split in 1995... “I’m really looking forward to this being something that I’m doing all the way through next year,” he says. “I didn’t expect that I’d ever be on the road again (after Oingo Boingo), but it looks like that’s what I’ll be doing and I’m really excited about it.”
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Senin, September 16, 2013

DANNY ELFMAN ON HALLOWEEN AT THE NOKIA THEATRE: “FOR GODSAKES, COME IN COSTUME”

Danny Elfman diwawancarai oleh KROQ, berikut ini kutipannya:
“I think I’m probably the only one in Hollywood who sighs a big sigh of relief when they don’t get an Oscar,” explained Elfman to Kevin and Bean on Thursday morning (September 12). “I don’t want to go up there. I really don’t want to go up there. More terrifying than performing in front of a zillion people is ever talking in front of a microphone.”
“First off I’ve never sung any of these songs publicly ever, so it’s not like I’m doing an Oingo Boingo song,” Elfman explained. “I only sang these in front of a microphone twenty years ago.”
“I have a terrible, terrible memory, Like really bad. Brain damage bad when it comes to names, when it comes to words, when it comes to lyrics, I used to to just be horrible back in the Boingo days. I’d black out all the time. Black out on lyrics,” he said, clarifying he doesn’t mean alcohol. “I’d walk into a void, like I’m singing and suddenly there’s nothing there. Like chorus number two, what happened? It’s nothing. One fraction of a millisecond like the breath before that chorus it would come to me. Sometimes it did, sometimes it didn’t. But when it comes to melodies, I really can remember stuff.”
Baca lengkapnya dan dengarkan wawancaranya di sini.

Sabtu, Juni 29, 2013

39th Annual Saturn Awards

Para pemenang Saturn Awards ke-39 telah diumumkan, berikut salah satunya:

BEST MUSIC
Frankenweenie - Danny Elfman

Life of Pi - Mychael Danna
Anna Karenina - Dario Marianelli
Skyfall - Thomas Newman
The Hobbit: An Unexpected Journey - Howard Shore
The Dark Knight Rises - Hans Zimmer

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Minggu, Juni 23, 2013

Tastemaker: composer Danny Elfman likes it deliciously dark

South China Morning Post mewawancarai Danny Elfman, berikut kutipannya:
Today we are sitting in a cafe inside Hong Kong's Disneyland as the theme park launches its new Mystic Point section, which features a soundtrack Elfman has put together. The Los Angeles native proves an engaging interview, confident and calm but occasionally adding a flourish of emotion.
Before the interview draws to a close, Elfman wants us to know Hong Kong might figure in his future - if all goes to plan. "Some day I would love to work with [comedian, actor and director] Stephen Chow [Sing-chi]. To me Kung Fu Hustle is one of the best movies ever made. I've shown that to a million people," he says.
"I say 'Look what can be done with this much money and a ton of imagination, rather than a ton of money and not that much imagination'. It's the most original film that I have seen in the past 10 or 20 years. It's always been a dream to visit one of his sets. One of these days, if destiny decides, it just might happen."
Elfman takes a breath, a pause for dramatic effect. "Do you hear that, Mr Chow?"
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Sabtu, Juni 22, 2013

'Independence Day 2,' 'Peregrine's Home for Peculiars' Get Release Dates

Situs The Hollywood Reporter memberitakan bahwa Miss Peregrine's Home for Peculiars akan disutradarai Tim Burton dan dirilis tanggal 31 Juli 2015. Berikut kutipannya:
The film, based on Ransom Riggs' debut novel, Miss Peregrine's Home for Peculiar Children, will be directed by Tim Burton from a script by X-Men: First Class writer Jane Goldman.
Baca lengkapnya di sini, hati-hati plot spoiler.

Film-film yang musiknya akan dibuat oleh Danny Elfman berikutnya adalah The Unknown Known: The Life and Times of Donald Rumsfeld (2013), Big Eyes (2014) dan film ini (31 Juli 2015).

Epic

Situs Filmtracks me-review Epic, berikut kutipannya:
Don't be surprised if this score is met with much of the same reaction that greeted Oz the Great and Powerful. Both remain solid, workmanlike scores that lack the distinctive punch of the composer's classics, but you can't really knock any part of these works outside of some possible handling issues with the themes. The brain insists that a score like this one, on the heels of Oz the Great and Powerful, is worthy of a high three-star rating, but a cue with the majesty of "Return" demands that the influences of nostalgia and comfort add a fourth star. Elfman's loyalists are once again served with a reliably entertaining listening experience.
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"Soundtrack Review: Oz The Great And Powerful" Music By Danny Elfman

Situs Examiner me-review soundtrack Oz The Great and Powerful, berikut kutipannya:
The music for "Oz The Great And Powerful" features alot of Elfman's charming and distinctive sounds that he's become snynomous with in films like "Edward Scissorhands", "Batman", "Dolores Claiborne" and "Sommersby" to name a few. The huge orchestrial sounds mixed an enchanting chorus with its' angelic voices with the occasional edge towards darkness.

Walt Disney/Intrada's album is a wonderful recording and in continuing their partnership with Disney, Intrada's top notch production of the album continues with this CD and it's always good to see Elfman's work well taken care of. This score is a good solid album that should be played with "Epic" as a double feature which most fans will enjoy both very much. Thumbs up for its' rich melodic material.
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Jumat, Juni 14, 2013

Danny Elfman on Scoring for a Disney Ride

The Wall Street Journal mewawancarai Danny Elfman soal Mystic Manor, berikut kutipannya:
The Wall Street Journal: Why did you take on this project?
Mr. Elfman: It was my connection with the Haunted Mansion from Disneyland that drew me, because I remember that so well. The chance to pay a bit of homage to that was very exciting to me, because I like the idea of doing something that gets into the subconscious mind of children from many generations, like the Haunted Mansion did for me.
You use different musical styles for the attraction. Why?
It’s more cinematic. That’s where it differs from the Haunted Mansion or Pirates of the Caribbean, where you have more of a single theme on a loop. We approached this more narratively, meaning really like scoring a movie.
Like the room with the Chinese artifacts?
Yeah, and where all the instruments come alive. And then the conclusion—it’s very much synchronized to what you are seeing. For everything in between, we had to create loops that are going to be a little different every time somebody goes through. So it was a great technical challenge.
The Chinese room is the most dramatic, with the monkey king coming to life.
I treated it just like it was a film score at that point…like it was the big conclusion at the end of a movie. That was the thing I didn’t know when we started, that we were going to treat it that way. But that’s the way it evolved, and it just seemed like the right way to go.
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Kamis, Juni 13, 2013

EPIC – Danny Elfman

Movie Music UK me-review soundtrack Epic, berikut kutipannya:
Featuring a large orchestra, chorus and a number of regional specialty instruments, Epic is large-scale, loud, thematic and has several moments of genuine power and beauty. Elfman has always had a knack for capturing a sense of wonder and innocence through his music, and this score continues the trend, going all the way back to the early days of his career, but now we have the added bonus of being able to enjoy Elfman’s more sophisticated and accomplished compositional techniques alongside the heightened emotional content.
Parts of Epic are really superb, especially when the main theme comes into play and the orchestra builds to its largest forces.
This small grumble aside, there are really no other complaints to be made about Epic. Perhaps the main theme could have been a little stronger and more front-and-center, but the lack of a really dominant melody is more than counteracted by the rich and lustrous orchestrations and the overall sense of magic Elfman brings to the rest of his music. Epic most definitely represents Elfman writing firmly in his warmly-hued comfort zone, creating whimsical and wondrous worlds through his enchanting writing, but Elfman’s comfort zone is arguably more comfortable than almost anyone else’s these days, and fans of his world will want to stay there for a while. Happy birthday.
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"Epic" Soundtrack Review Music By Danny Elfman

Examiner me-review soundtrack Epic, berikut ini kutipannya:
This is Elfman's fourth entry into animation after "Meet The Robinsons", "The Corpse Bride" and the aforementioned "Frankenweenie" and this is one of Elfman's solid efforts that follows on the heels of "Oz" in terms of grandness and what is the best part of this score is that quite different than his last few efforts.
The score is a grand huge orchestral score featuring a choir that is epic and dramatic. It is a tour de force of Elfman's more engaging material along with his usual flair for playfulness as almost every Elfman score does and happily so.
Sony's album is a nicely assembled album featuring fifty-one minutes of Elfman's lovely, lush score and it has such as smooth flow that fans will enjoy it as much I did much to my surprise. I have to say that I owe a friend a solid kudos for this one because this was quite a departure for Elfman who is enjoying a musical renaissance over the last year and "Epic" continues that positive trend. Thumbs up to a grand work.
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Danny Elfman

HK Magazine mewawancarai Danny Elfman sehubungan dengan musiknya untuk atraksi di Hong Kong Disneyland, Mystic Manor, berikut kutipannya:

HK Magazine: You can now check off “roller coasters” from your composer’s bucket list. What’s tricky about scoring a ride, as opposed to a film?
Danny Elfman:
Well, I knew that everything was going to have to be timed out in a unique way. In movies, you might have a number of different scenes, but [for the ride] it had to be compressed. There isn’t one car moving people from beginning to end—there are four. That meant that some things could be synchronized exactly to the action, but others couldn’t and would be played on loops through the rooms. It was really quite a puzzle in terms of putting it all together, but that’s what made it fun.

HK: Is this your first time in Hong Kong?
DE:
No, this is my third time. I was here two years ago when there was nothing but foundation [at Mystic Manor], and again a month ago working every day in the rooms, mixing and putting together the sounds. That was fun.

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Senin, Mei 20, 2013

Mystic Point grand opening celebrated at Hong Kong Disneyland

Seperti pernah diberitakan di sini, Danny Elfman membuat musik untuk Mystic Manor, salah satu atraksi dari Disneyland, Hong Kong. Tanggal 17 Mei kemarin, atraksi tersebut diresmikan, termasuk mengundang Danny Elfman ke acara tersebut.

Berikut kutipan dari Richard Kraft, agen dari Danny Elfman:
In addition to scoring Mystic Manor, Elfman makes a few "cameos" throughout the attraction, including as a portrait in the queue area as "Maestro D. Elfman", as a name on a harpsichord in the Music Room, and amongst the singing voice as a suit-of-armor helmet, and a tiki god.
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Varèse Sarabande's 35th Anniversary Gala

Film, Music & Media meng-upload foto-foto acara ini di Facebook. Klik di sini.

Minggu, Mei 12, 2013

The Unknown Known: The Life and Times of Donald Rumsfeld

Situs agen Danny Elfman menyatakan bahwa ia akan mengisi musik untuk film dokumenter dari Errol Morris The Unknown Known: The Life and Times of Donald Rumsfeld. Beriku kutipannya:
Elfman’s most recent projects include Sam Raimi’s Oz: The Great and Powerful, Chris Wedge’s animated film Epic and the Errol Morris documentary The Unknown Known: The Life and Times of Donald Rumsfeld.
Film ini mendokumentasi karir mantan Secretary of Defense dari Amerika Serikat, Donald Rumsfeld dari sejak menjadi anggota kongres di dekade 1960an sampai ke perencanaan invasi ke Irak tahun 2003. 

Film ini akan dirilis tahun 2013 dan akan merupakan kerja sama untuk kedua kalinya antara Errol Morris dengan Danny Elfman. Mereka pertama kali bekerja sama untuk film dokumenter Standard Operating Procedure di tahun 2008.

Situs agen Danny Elfman bisa dibaca di sini dan press release dari film ini bisa dibaca di sini.

Sabtu, Mei 04, 2013

Epic

Studio: Blue Sky Studios, 20th Century Fox Animation
Sutradara: Chris Wedge
Composer: Danny Elfman
Tanggal rilis film: 24 Mei 2013
Tanggal rilis soundtrack: 28 Mei 2013
Label: Sony Classics


Track list:
1. Leafmen (1:17)
2. Pursuit (2:40)
3. Tara's Chamber (3:03)
4. Meet Dad (0:34)
5. Moonhaven Parade (1:27)
6. Alarms (0:41)
7. The Selection (2:13)
8. Ambush (4:17)
9. Tara's Gift (2:05)
10. Small (2:29)
11. Girl Meets Boy (3:24)
12. Rings of Knowledge (2:35)
13. Antlers (2:10)
14. Kidnapped (0:54)
15. In the House (3:39)
16. Many Leaves (1:54)
17. Escape (4:45)
18. False Start (3:07)
19. Epic Final Confrontation (3:19)
20. Return (4:18)
21. Epic Finale (1:34)

Total time: 52:25

Tim Burton to Direct Christoph Waltz, Amy Adams in 'Big Eyes'

Berita agak lama, Tim Burton akan menyutradarai film Big Eyes yang artinya Danny Elfman akan membuat musiknya. Big Eyes akan bercerita mengenai kehidupan Walter Keane dan istrinya Margaret Keane, pasangan suami-istri yang pada tahun '50an dan '60an memproduksi massal lukisan-lukisan anak-anak bermata besar. Film ini akan dirilis tahun 2014 dan akan dibintangi oleh Christoph Waltz dan Amy Adams. Baca beritanya di sini.

Sabtu, April 20, 2013

BATMAN THE ANIMATED SERIES: VOL. 2: LIMITED EDITION

Berikut kutipan dari booklet-nya:

Michael McCuistion who came to (Shirley) Walker's attention via a demo tape passed through husband Don, remembers being intimidated by his early trials. "She was such an enormous talent, and her musical skills were off the charts. She would take my sketches, which were about ten lines tall in various clefs, an sit at the piano to play them, simultaneously reducing and sight-reading in temp to picture to get an idea of what I had written." It was a skill Walker had honed over many years; she had done similar on-the-fly piano reductions for Carmine Coppola on THE BLACK STALLION, and for Danny Elfman on BATMAN. "The first time she did that I know my jaw must have hit the floor," says McCuistion.



DISC ONE


1. BATMAN: THE ANIMATED SERIES - Main Title
Composed by Danny Elfman

Danny Elfman's original main title is here presented "clean," without the sound effects that accompanied the broadcast version (see disc four). Elfman arranged the cue himself, with orchestration by Mark McKenzie, based on his Batman theme for the 1989 Burton film. The combination of music and imagery was deemed so iconic that the title BATMAN never actually appeared on the screen.

50. BATMAN: THE ANIMATED SERIES - End Credits (Extended)
Composed by Danny Elfman

Danny Elfman's end credits adaptation of his '89 theme was abridged for broadcast, clipping the initial 4 seconds and excising a passage from 0:22-0:33. An alternate ending was also used (see disc three). This is the uncut version of the theme, in its original form.



DISC TWO


1. BATMAN: THE ANIMATED SERIES - Main Title (Piano Version)

Composed by Danny Elfman and Shirley Walker

Early in the development of the series, Walker was asked to come up with an original concept for the show's main title sequence. She performed and recorded this piano demo against a beeping metronome, utilizing both Elfman's theme and her own original theme. (This is the earliest surviving take, and represents the composition in stripped-down form; additional components would have been overlaid later, as heard in the synth mock-up that opens disc three.)

50. BATMAN: THE ANIMATED SERIES - End Credits (Alternate Beginning)

Composed by Danny Elfman

This alternate version of Elfman's end credits strips the live strings from the introductory measures, leaving the reinforcing synth exposed.



DISC THREE


1. BATMAN: THE ANIMATED SERIES - Main Title (MIDI Version)
Composed by Danny Elfman and Shirley Walker

After evolving her proposed version of the main title on piano, Walker moved into synth mock-ups. This incarnation, which never made it to the scoring stage, continues to feature both the Elfman and Walker themes.

50. BATMAN: THE ANIMATED SERIES - End Credits (Alternate Ending)

Composed by Danny Elfman

This alternate version of Elfman's end credits music features a sharper final crescendo, as heard in the broadcast version of the cues.



DISC FOUR


1. BATMAN: THE ANIMATED SERIES - Main Title (with Sound Effects)
Composed by Danny Elfman

Elfman's title theme was augmented for broadcast with an explosive crash at 0:15 and a dramatic thunderclap at 0:56.

34. BATMAN: THE ANIMATED SERIES - End Credits (Alternate Beginning and Ending)

Composed by Danny Elfman

For this take of Elfman's end credits music, both the alternate beginning and ending (as heard on discs two and three) are used.



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"It's all in the (film) music": Interview with Lukas Kendall (Film Score Monthly)

Situs ColonneSonore.net mewawancarai Lukas Kendall pendiri majalah Film Score Monthly dan labelnya yang merilis soundtracks. Berikut kutipannya:
The right way to produce a film score album is the way we did them (complete and chronological). It may seem like there were a hundred people who wanted abridged albums, but it was really just one guy who posted a hundred times. I’m not saying our way is creatively the best, but it is the best for our audience.
I think that as listening experiences, yes, the shorter presentations are better. It’s natural that if you cherry-pick the best cues and cut out the boring parts, the album will be better. But then people lament what got cut. There is always that short 20-second transition that is your favorite moment in the entire score that the composer (usually Goldsmith) left off the original album—who are we to perpetuate that deprivation? There is no perfect solution except to release everything complete and chronological, and let people make their own abridged sequences
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