Film Music Magazine March Soundtrack Picks

Daniel Schweiger di situs Film Music Magazine merekomendasikan musik Danny Elfman untuk Planet of The Apes yang baru dirilis La-La Land Records, berikut kutipannya:

Danny Elfman has often played primal aggressiveness for director Tim Burton in such rampaging scores as “Sleepy Hollow” and “Mars Attacks.” But none of their collaborations would grab the composer’s furious instincts like Burton’s redo for “Planet of the Apes.” Sure Jerry Goldsmith had the percussive idea first when he accompanied Charlton Heston into The Forbidden Zone, but leave it to Danny Elfman to run rampant with those animalistic beats and ethnic wind instruments. While the orchestra is ever present here, it’s a swirling, unbound beast, with anything resembling pleasant melody hosed down in a cage until the climax. Grinding, pounding, screaming brass is the thrust of this “Ape” score, an approach that definitely makes this at times near-dissonant “Planet” soundtrack its own, assaultive animal in the franchise’s cannon, and the one that arguably best conveys the most nightmarish aspects of a future man never reckoned on making. 

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Composer Finally Gets to Run Away & Join the Big Top for Cirque du Soleil's 'Iris'

Daniel Schweiger mewawancarai Danny Elfman mengenai Iris, berikut kutipannya:

DS: Iris is going to be at the Kodak for a very long time. How do you see the music and the show developing through the years?

DE: I really have no way of anticipating that. I’m told, in the normal Cirque world, that it’s when things settle after the opening that they start to develop one or two alternating acts. That means, if somebody gets injured, they have to have some act to put in that person’s place. Iris has no alternates right now. Already in the last two months, there’ve been acts that have been down for three or four days at a time. But as they come up with replacements, I imagine I’ll have to score them. So I see Iris as a constantly moving thing -- an entire show that depends on the fragility of human tendons and ligaments. I have no doubt I’ll be called in again and again to make adjustments, changes, or to write new music for some new piece that will be going in.

DS: Even though it’s not a movie, Iris is very much about the images in movies that we instantly recall through music. In that respect, what do you think Iris has to say about the importance of music in the movies?

DE: I don’t know if Iris is saying anything important about music in film. I think the show’s music just speaks for itself. While it has nods to movies like West Side Story and King Kong, there are also moments that are just from my own imagination -- one that’s filled with film music. So I figured that, without even trying, Iris’s music would sound cinematic, whether I want it to or not. That’s just because it’s the way I’m wired.

DS: What’s one of the things that stands out for you about the whole experience of Iris?

DE: I didn’t think it would take me this long to say that one of my greatest moments was rushing into a rehearsal one night, I was late, and I’m driving down to the parking lot where they had special areas for the Iris customers. The guard was saying “Are you here for the circus?” I flashed my badge and said, “I’m in the circus!” As I was running upstairs, I asked myself if I really just said that. And wow, I did. I screamed, “I’m in the circus!” furiously to some parking lot attendant. It took me this long to be able to say that, and I didn’t expect that to happen at this point in my life.

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