Good Will Hunting

Situs Movie Wave me-review Good Will Hunting yang baru dirilis oleh Music Box Records, berikut kutipannya:

The relatively brief score offers generally rather low-key accompaniment to the film, the most arresting feature being the Irish tinge thanks to the pennywhistle and a lovely Morricone/The Mission-style motivic fragment that is used incredibly fluidly and serves as the main theme of sorts. These are explored most fully in the opening and closing titles – in between Elfman creates this kind of kaleidoscopic atmosphere which perfectly represents Damon’s character, a genius struggling with everyday life. Fluttering winds are used, there’s sometimes nervous tension from keyboards and percussion, a magical air from an occasional choir. On the surface it’s a little like a subtler precursor to James Horner’s A Beautiful Mind, but whereas Horner was as usual all about emotion with his score, Elfman has a much more intellectual, slightly emotionally distant approach and it serves its film perfectly.

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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.

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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.”

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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.

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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.

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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.

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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.

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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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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.

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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.

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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.

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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.

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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.

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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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Oz the Great and Powerful

Filmtracks me-review Oz the Great and Powerful dan memberi bintang empat, berikut kutipannya:

The tone of the writing, as well as the accompanying orchestrations, are absolutely pure Elfman tradition in their execution, nothing about the recording likely to surprise the learned collector of the composer's albums. The music box, organ, stomping tuba rhythms, melancholy violin performances, brass that answers back and forth within the section, prominent bassoons in the mix, cimbalom or mandolin for a touch of wickedness, marching snares for determination, bass string ostinatos for preparation, chimes for resolution, and other instrumental applications are all easily recognizable within Elfman's palette.

The lengthy album (released in physical form by Intrada Records) is a fantastic tool with which to hear what Elfman was attempting in this score, and the composer reaffirms his clear enthusiasm for fantasy concepts throughout the work. Ultimately, however,Oz the Great and Powerful is one of those great ambient listening experiences in the genre that doesn't stand up to focused analysis upon a closer look. For many listeners, such details won't matter, but that is what distinguishes a solid, workmanlike score from one destined to be a classic. ****

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March Soundtrack Picks

Film Music Magazine merekomendasikan soundtrack untuk bulan Maret 2013, berikut kutipannya:

OZ THE GREAT AND POWERFUL
What is it?: Long before fairy tale movies were in vogue, Danny Elfman was applying equal parts enchantment and foreboding to such fractured Tim Burton fantasies as “Edward Scissorhands,” “The Nightmare Before Christmas” and “Big Fish.” So it’s no surprise that a filmmaker prone to dark, deceptively kid-friendly adventures would start the recent trend off with “Alice In Wonderland,” even if it was a film that pretty much went down the rabbit hole. However, Elfman’s strikingly themed score stayed above the helter-skelter effects fray with its clever plays on English propriety. Now, Elfman’s music truly gets to fly in the genre for Sam Raimi’s prequel voyage to “Oz,” one that thankful reunites the composer and his “Spider-Man” director. It’s a tall tale that pays off far better on the filmmaking count, while inspiring Elfman to reach further heights of rambunctious storybook enchantment that proves his music was never in Kansas to begin with.

Why you should buy it?: While not quite as sing-song memorable as “Alice’s” theme, Elfman has got another winning melody in the purposefully blustering motif for a con-man “wizard” who ultimately finds the magic within himself. There’s even more than a bit of original “Oz” composer Herbert Stothart’s wonder as Elfman transitions from music box bells to romping circus music for organ and chorus before the glorious orchestral statement of his “Oz” theme emerges in the “Main Titles.” It’s wondrous stuff that sets very high expectations of the trip to Emerald City to come, a journey that Elfman makes very enjoyable indeed with all the fantasy score pre-requisites of siren-voices, rapturous strings and villainous percussion. But this is a composer who’s gotten his name by rarely playing it straight. And while there are moments of beautiful calmness that sink in the “Avatar”-worthy painted environment, from waltzes to a heartbreakingly touching bell theme for a China Doll, “Oz” more often than not has an antic, exciting energy that’s more like a kid ripping through the pages of a storybook than pleasantly thumbing at it. There’s fun pomp and circumstance for the con man anti-hero, even as Elfman steadily humanizes the vulnerability within him. He also uses a violin to bring out the pathos of a witch who wasn’t so wicked once upon a time, even as her music shrieks with some of the most fiendish delight that Elfman’s had since “Darkman” and “The Frighteners.”

Extra Special: Disney’s made it a point to not go anywhere near the starstuff of the one and only “Oz,” so don’t expect any attempts at another “Over the Rainbow,” let alone Elfman bringing a Boingo style rock beat to “We’re Off To See the Wizard.” But given Raimi’s screwball humor, the one tune offered is a joke to what we won’t get in “The Munchkin Welcome Song.” A way-too jolly marching band introduces its goofily catchy verses (done a couple of octaves lower than Elfman’s one-man Munchkin band for “Charlie and the Chocolate Factory”) before the amiable little people are cut-off at “Yo Ho,” perhaps the most thankfully stopped ballad since a prince tried to warble a ballad in “Monty Python and the Holy Grail.”

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Danny Elfman: Oz The Great And Powerful - an album guide

Classic FM mendeskripsikan setiap track dari Oz: The Great and Powerful, berikut kutipannya:

Main Titles Danny Elfman's soundtrack gets off to a fantastically glitzy start, with orchestral and choral bombast to spare - perfect vintage Hollywood fare.

A Serious Talk Delicate woodwinds form the main part of this conversation.

A Strange World While the visuals in this film are predictably stunning and other-worldly, the music has to match it - Danny Elfman's score is full of wonder here, with ethereal effects designed to evoke the mysterious and sumptuous world of Oz.

Fireside Dance Another sumptuous number from Elfman, this time with added dulcimer and a glorious (dare we say Rieu-esque?) waltz.

The Emerald Palace The location that so many people recognise from the original brings out the most lush orchestration you could imagine from Danny Elfman's score - it's foreboding and triumphant at the same time.

Treasure Room / Monkey Business We're pretty confident in suggesting that this particular portion of the movie will feature Finley, the flying monkey voiced by Zach Braff. As you'd expect, it's a suitably cheeky piece of scoring from Elfman.

Glinda Revealed This ethereal theme announces the arrival of Glinda, played by Michelle Williams.

The Munchkin Welcome Song A classic slice of Elfman whimsy and a return for some of the most notable characters from the first time round - The Munchkins!

The Bubble Voyage Mystical and exciting sounds from the orchestra give a fantastical sense of the visuals here - Elfman is the go-to guy for visually stunning stuff like this.

Meeting The Troops A lumbering theme for the titular troops from Elfman, and another highlight in the soundtrack. Listen out for the gentle celesta in the background as well, something that Elfman has often used in his scores.

What Army? More bombastic excitement from Elfman's score here.

Theodora's Entrance Mila Kunis made quite an entrance at the Oscars, but we bet her arrival in Oz The Great And Powerful is even better, if the score is anything to go by.

A Threat You can imagine how this slice of Elfman sounds just from the title alone - expect nervous strings and a sense of dread in the brass...

Bedtime / The Preparation Montage This is the soundtrack's longest section and is quick to assert Elfman's rather deft way with quieter passages.

Call To Arms ...in Danny Elfman's score things have gotten decidedly more dramatic...

Destruction Another dramatic bit of scoring, this time with lower-register brass dominating.

Oz The Great And Powerful The title track from the film, this is about as anthemic as Danny Elfman gets. Lovely stuff, and a great iconic way to cement James Franco's on-screen performance.

Time For Gifts A sweetly emotional finale to the film, which has by this point taken in some seriously breathtaking scenery, some lush orchestration from Danny Elfman

End Credits From Oz Danny Elfman's epic score finishes with a bang, and a little tour of some of the best themes in the film. Another corking soundtrack from one of the modern masters of the genre.

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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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Hitchcock Music By Danny Elfman

Situs Examiner me-review Hitchcock score album, berikut kutipannya:

Sony Classical's album is a brief, but enjoyable, powerful experience that Elfman's fans will really enjoy on its own merits. I was actually quite surprised at how much I did like this one along with Silver Linings Playbook and it really seems to me that Elfman is really getting back to that late period in the 1990's where he really excelled and his work was getting broader and broader which is why he's become a really diverse composer able to score films such as Hitchcock and the many others in the past years he has since the late 90's in his mature mode. The most enjoyable aspect is how Elfman shifts his darker romantic material to a lighter tone and keep everything on an even keel musically and Elfman in this mold is something very special that's been somewhat missing the last few years. Hitchcock is a score that will remind alot of people of that great period and hopefully the start of a another great one for the great composer. Definitely recommended.

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