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.”

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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

Baca lengkapnya di sini. Asik!

Saturn Awards

Satu lagi berita lama, tanggal 20 Februari yang lalu nominees untuk 39th Saturn Awards telah diumumkan, berikut ini untuk kategori musik film:

BEST MUSIC

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

Acara pengumuman pemenang akan diadakan bulan Juni 2013. Baca lengkapnya di sini.

Disney's Frankenweenie Music By Danny Elfman

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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Soundtrack review: Danny Elfman helps Tim Burton resurrect ‘Frankenweenie’

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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Danny Elfman: 'My Constant Worry Is That I'll Run Out of Ideas' (Q&A)

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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October Soundtrack Picks

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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Frankenweenie

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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Walt Disney Records Presents Frankenweenie Original Motion Picture Soundtrack Available Now

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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Frankenweenie: An Electrifying Book

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.

Frankenweenie

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)

Frankenweenie Unleashed!

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.

Chat with Danny Elfman, film and 'Iris' composer, on Dec. 16

Danny Elfman ikutan web chat yang di-host oleh Culture Monster pada tanggal 16 Desember 2011 yang lalu, berikut kutipannya:

Will there be an Oingo Boingo reunion?
There will never be an Oingo Boingo reunion, I'm sad to say. The 17 years I had with them were good, but I sustained too much hearing damage during those years and I have to leave it behind me now if I want to continue writing music. Sadly I'm no Beethoven. Sorry, need to use my ears.

Can you tell me how Hitchcock has influenced your music? How has Bernard Herrmann had an influence on you as a composer?
Hitchcock was a huge influence. His composer was named Bernard Herrmann and he was my original inspiration and began my love of film music.

Can you comment on your Gong Show experience?
The Gong Show was a fun goof. We did it twice, but intended to get gonged and never did. We won instead, so we stopped going on.

What scoring software you prefer to work with?
I work on Digital Performer. I know they all have their advantages and disadvantages but this is the one that works the best for me.

What was the first film score you heard that sparked your interest in becoming a composer? Was it a Herrmann score?
It was "The Day The Earth Stood Still".

What kind of inspiration do you derive from working with someone with the enthusiasm and unique perspective as a filmmaker like Tim Burton?
Tim has given me great leeway to explore many different genres and styles. He's also given me a long leash to work on, allowing me a lot of creative flexibility.

How much of your music for films is synthesized and how much is done by the actual musician and instrument? Strings for instance. And how much of the score do you write out versus just play as you know what you want?
While writing any individual cue, I do a complete mock-up for the director with all the parts as close as possible to how he may hear the finished music. Once it's approved, all percussion and synthesized parts remain and all the strings, brass and winds get replaced with the real orchestra which sounds much better than the samples.

When you score for a movie, do you come to the project with an idea already? Or do you let the movie dictate the direction? How much influence does the director have on the score?
The director is GOD. The director has total say in what I can or cannot do and if the experience is creative, expressive, fun, or miserable.

Has the way that you write music or your methodology changed in the way that you write music for film versus being in a band? Or do you feel you approach it in a similar fashion?
No connection to writing for film and being in the band. In fact, it was a hindrance I had to overcome. Writing songs has verses and choruses, in film music one has to let all that style of construction go.

What is your process for composing for a film?
My process is simple but without method. I just watch the film a lot and absorb it as best I can and wait for something to happen...


Little Demons? Any chance it will ever see the light of day?
Who knows anything can happen in this world.

There's lots of curiosity here about your work with Tim Burton. Why do your sensibilities match up so well?
Tim and I grew up on a lot of the same influences, mostly horror, fantasy and sci-fi from all over the world. We grew up in an era where all kids had access to all of this stuff all around them. Every weekend two new movies at every local theater. It was a great time to grow up on film. We probably saw 10x as many films from all over the world as most kids see today.

Will you be scoring the Frankenweenie movie that Burton is directing?
I go immediately to Frankenweenie after finishing Dark Shadows.

How is composing for a live show like Iris different than movie scores. Do you have a preference?
Composing for Iris was unique to anything I had ever done. Very much different from film. writing for the live performers was a unique challenge. Even having written a Ballet, this was very different. All the different performers had different requirements. And making it all work live every night was an unbelievable challenge. But, one of the most personally rewarding things I've ever done.

Please tell us 'Rabbit and Rogue' will be recorded and released.
I'm still trying to find a way to record Rabbit & Rogue. It's difficult, it’s a complicated piece and I hope I get a chance to get it out into the world at some point.

I always wondered why you dropped the Mystic Knights from the Oingo Boingo name. Was it just way too long?
Good question. It was laziness. When I retired the Mystic Knights of The Oingo Boingo, we tried playing with dozens and dozens of different names we very nearly were called "Plan 9", but in the end we just stayed Oingo Boingo.

Do you ever just write from your heart? Unscripted?
I do, but not enough. Writing for Twyla Tharp and for Cirque both gave me a strong desire to do more writing away from film. I intend to begin writing chamber music this year for myself (if I could possibly find some time).

Do you ever compose without any of the instruments and solely the manuscript paper in front of you? Or do you use instruments for creativity?
No I'm afraid not. I write solely by ear. Meaning I have to hear what I'm writing. I know the great "Herrmann" and many other great composers could go straight to paper but alas I cannot. I need at least a keyboard in front of me.

Is there any genre of film you would feel uncomfortable scoring, or that would require additional "homework" or preparation on your part?
Yes, in fact there are things I would feel uncomfortable doing. A contemporary light romantic comedy makes me feel completely lost. And I probably would not take on a contemporary jazz score as I feel I am not properly equipped and wouldn't do it justice.

How do you get though writer's block?
Writer's block? A tough one. simply cannot acknowledge its existence. Or I'd never get anything written. I think the best way to avoid it, is to force yourself to write every day even if you feel you can't. It's like working gears that get stuck. If you start them moving they just might get going again.


In your opinion, what films (without your collaboration) had a score that you felt really made the film?
I don't think any score can make the film. All we can do is enhance what's there. Can't make a crappy movie good. I suppose I could make a good movie crappy???

When you score a film, do you conduct an orchestra for the recording yourself for the non-synthed parts, or do you have someone else record it?
My parts meaning all the funny sounds percussion sounds and non-orchestral sounds are already finished when I'm done writing the cue and need no conducting because I've played them all. For the orchestra, I will never conduct if I can help it. Conducting is a talent to itself and I do not consider myself having that talent. If I conducted it would be for my ego only but not for the good of the music.

You have worked very closely with Tim Burton on so many projects. What would you say are the advantages and disadvantages to working with a single person on so many projects?
The advantage of working with a director multiple times is you know what to expect from them. Not that you know what their movie will be like but half the job of being a film composer is being a psychologist, getting inside a director's head. Having been in there before helps.

What effect have your non-film music had on your film music?
More and more I have come to believe that the non-film music is essential for me to keep my sanity. Working in films only, I have no doubt, would kill me or put me in the nut house.

What film scores are you most proud of when you return back to and listen to them today?
I don't have any single scores that I can say "that was really great". I tend to have moments in many different scores that I'm proud of, usually when I manage to pull off something different than what I had done before.

Do you have an instrument you wish you could be better at?
Yes i'd settle for being good on any musical instrument. I've never really been a musician. I never took lessons on any instrument or stuck with any single instrument. I was always more a jack of all trades master of none.

I know with film scores you have an inspiration to work with and write to but how did you go about writing Serenada Schizophrana, what inspired you to write it?
Writing Seranada was a cathartic experience. It was my first time writing for orchestra away from visual images, and it opened many doors in my mind and possibilities. Certainly something i will continue doing. Time? Time? Time? It’s all about finding the time.

Would you ever consider doing a live performance of some of your film scores?
I've been asked and it’s a hard question. I hate going back over my past music. And to do a concert means putting a lot of energy into that. It's something I may do, but I've always put off. Too many new things on my plate.

What current film composers do you admire?
So many good composers today, can't think of them all. I love Desplat of course, Tom Newman, Mansell, Carter Burwell and many others. This kind of question always makes my mind go blank and gets me into trouble. I'll have ten more as soon as I move on to the next question.
Scorewise, are endings the hardest part to come up with?
No the ending is easy once everything is layed out properly. It’s getting started and finding the themes that's the hard part.


What were your inspirations for writing such dark scores like Batman, Nightmare Before Christmas, Sleepy Hollow and Sweeney Todd?
My inspirations??? I have no idea. I think it’s just a mish mash of everything I've heard, I never know what my inspiration is at any moment when I'm working.

How much time each day do you spend on writing music?
I try to put 12 hours a day if I possibly can. It gets spread out however. I do most of my work at night. and usually write until 1:30 or 2 in the morning.

When you are writing the score to a film, do you already have the piece laid out in your head? Do you have the basic structure or rhythms or melodies already formulated? Or do you just write the music as you go?
The answer to both questions is yes. In the beginning I spend a lot of time working out the themes, components and elements that I'm going to use. When I feel comfortable that I have them, then I go by the seat of my pants, and let the music pretty much run itself. That's the fun part. When I'm working on 8 bars I don't necessarily know what the next 8 bars are going to be. That's the fun part.

During the writing process, how confident are you about the quality of your music. I fear I live in a perpetual state of "My Music isn't Good Enough" Do you ever feel like that?
You are not alone I never feel like my music is good enough when I'm writing it. If I do feel that way, it may be years later.

What has been the most challenging assignment of your career?
I really have to say Iris was the most challenging assignment of my career. What we were attempting to do, had no previous project to use as a model. Combining a full orchestra with "live" cirque was an experiment that we had to invent as we went. There were moments where I felt it was impossible, and probably it wasn't until the official opening that I felt I had not created a complete disaster.

Reed Johnson: Alas, we're out of time. Thank you everyone for the thoughtful questions. And thank you Danny for taking part in our chat today, and for clearly inspiring so many with all your great music!
Danny Elfman: Thanks Reed, thanks everybody. this was really fun. look forward to the next time.

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Tim Burton Talks Frankenweenie at the Opening of His Star-Studded Museum Retrospective in Los Angeles

The Hollywood Reporter meliput Tim Burton exhibition di Los Angeles County Museum of Art (LACMA) dan menurunkan laporannya kemarin, berikut kutipannya:

Elfman — who said that the night "really was memory lane" — confirmed that Frankenweenie, which is due for an October 2012 release, is "more than halfway through" production. He'll be scoring the film but has yet to start. "I really don't start until they are in a rough cut. Tim usually cheats it a little bit. He usually brings me in about the middle somewhere and often I will come up with some ideas then. I do read the scripts and get ideas, but none of those ideas have ever survived. When I look at one of his movies, I blank out my mind from anything I thought from the script."

Baca lengkapnya di sini. Situs LACMA-nya dapat diakses di sini.

Danny Elfman to Reunite with Tim Burton on ‘Frankenweenie’

Situs Film Music Reporter baru melaporkan bahwa Danny Elfman akan kembali bekerja sama dengan Tim Burton untuk Frankenweenie, film black & white stop-motion 3D animation yang merupakan remake dari film pendek buatan Tim Burton dulu, berikut kutipannya:

The movie’s voice talent includes Winona Ryder, Martin Landau, Martin Short and Catherine O’Hara. John August (Big Fish, Charlie and the Chocolate Factory, Corpse Bride) is writing the screenplay. The project is the 14th collaboration between the composer and the director. The stop-motion animation film will be shot in black and white and rendered in 3D. While Elfman’s involvement was expected given his relationship with Burton, it has been confirmed by Elfman’s agency that the composer has officially joined the project. Frankenweenie is set for a release in digital 3D on October 5, 2012 by Walt Disney Pictures.

Elfman also has the sci-fi action Real Steel coming out this year. The movie directed by Shawn Levy is set in the near-future where 2,000-pound robots that look like humans do battle and stars Hugh Jackman, Kevin Durand, Evangeline Lilly, Anthony Mackie and Hope Davis. The Dreamworks production will be relased by Touchstone Pictures on October 7, 2011. Also coming up for Elfman is Gus van Sant’s Restless and Barry Sonnenfeld’s Men In Black III starring Will Smith, Tommy Lee Jones and Josh Brolin for a summer 2012 release.

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