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.Baca lengkapnya di sini.
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.