Omni Music Publishing menerbitkan sheet music dari Edward Scissorhands, berikut kutipannya:
Widely considered Danny Elfman's masterpiece, Edward Scissorhands is expertly engraved and handsomely bound. Never before has its equal been offered for purchase. Contents include all 37 music cues from the film composed by Danny Elfman, a contents page, instrumentation list, and an exclusive interview with the composer about different aspects of the film-scoring process and his personal reflections on the music that would influence a generation of composers.
Omni Music Publishing has included all the details that were adjusted, re-written and re-orchestrated at the scoring stage — this is THE definitive edition! I am hoping that there will be more volumes of film scores treated as thoroughly as this one. — Steve Bartek, Elfman orchestrator
Harganya $75, cek lengkapnya di sini.
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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Den of Geek mewawancarai Danny Elfman, berikut kutipannya:
I was thrilled to see that at the Royal Albert Hall on October 7th, there’s going to be a live performance of your music from the Tim Burton films…
There will indeed! And once again I’ve gotta go back, that’s my job for the next couple months is I’ve got to sift through all those scores and create some suites, because I’ve got to figure out what we’re going to play.
This time I’m going to go even deeper, because on the records I just had to listen to everything and re-organise tracks and sometimes take a few mixes or something, but here I’m going to open up the original scores and go back and reconstruct pieces and/or elaborate on them. So it’s really going back! I’m going to be potentially creating suites for Pee Wee and Batman and Beetlejuice that probably don’t exist…
[At this point, I think it’s safe to say, I had an overwhelming wave of excitement hit me at the prospect of hearing the new arrangements] Oh wow! Well I look forward to that. What actually inspired the decision to do the live performance over here?
With most things like, this it occurs because it’s a brainstorm of my agent, who is always coming up with some crazy scheme and he asked me some time ago, "Would you be into doing a concert?" and I said [hesitantly] "I don’t know… sure… why not" as I was always afraid of that, because of the work involved. I’ve avoided doing concerts because I’ve worked for 27 years and it’s hard – you have to re-imagine stuff and put work into it, and me not liking to go backwards, I’ve just avoided it and avoided it, so I said, alright then, I guess maybe it’d be fun.
Then at another my agent called me and said, "Would you be willing to possibly sing a song or two from Nightmare?" and at the point I was like, "Oh yeah, yeah, sure whatever." Then the next time I heard from him he says, "Guess what, tickets went on sale and they all sold out", and I’m like "What? When did that happen!? Really…" [Laughs] and then suddenly the reality of it [hit] and I asked him, "Did I say I was or wasn’t going to sing?" and he told me I was, so I figured, okay, I’m not going to go back on my word, but then suddenly it’s like, "Oh. What did I get myself into" but it’ll be good.
If I can get the music all sorted out – I went through it last week and realised, my god, there’s only 90 minutes [to perform], there’s 15 scores, that’s only six minutes a score – it was a little bit daunting last week when I began to look at it, but I’m sure I’ll sort it out.
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Empire Online mewawancarai Danny Elfman, berikut kutipannya:
How does working with Sam Raimi compare to working with Tim Burton?They're very different. Sam is very easygoing, when it comes to the studio and the music. He just seems really to fit into it and enjoy it. Tim doesn't enjoy it. He's much more intense during the process, figuring out what his movie is. Sometimes he has to go on a journey himself with music, and discover where the centre of it is. It's a little more of a game with Sam - like we're playing around and goofing. Not that he doesn't take it seriously, but it can feel sometimes more like we're having a good time and goofing off. Tim... (pauses) It's not that we never goof off. Usually by the time the score is written and he's in the studio, he actually can get really silly and funny. But during the actual process, he's usually pretty intense.
How did Oz differ from your previous experiences with Sam?It actually took me back to Darkman, in a sense. This is the easiest time I've had with Sam in a long while. The score went really quick, and it was just like right on the nose from the first beat. It was like I'd nailed it for him from the first presentation. I don't know why this one was like that, it's rare. I wish they were all like that! It was a reminder that even a 115-minute score can be relatively easy, [whereas] sometimes a 25-minute score can be excruciatingly difficult. It's a strange business, but every now and then one just comes down really easily. I remember having that with Tim on Mars Attacks!. Just for whatever reason, BAM!, that one shot out of the gate and I heard the main titles as soon as I saw the rough cut of the opening sequence. But I've done like 80 or 85 films, and we're talking half a dozen like that. Most of them evolve from suffering!
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Berikut ini kutipan wawancara dengan Sam Raimi:
What was the best part of working on the film?
The best part of the picture for me, as a director, was once I had worked on the thing for two years and eight months, was to hear Danny Elfman, our composer, create such a fantastic score. He took the emotions that were in the movie and he elevated them. He took the drama and he deepened it. He basically made everything better. He was the secret sauce that brings it to the next level.
What you do think Elfman’s music brings to the atmosphere of the film?
He made the love story much deeper. The Wizard in Kansas, he has a love story with a girl named Annie, played by Michelle Williams, and this is a love that’s right before the Wizard, if only he would recognize it. It’s only once he gets to Oz that he starts to realize that true love is the most valuable thing that one can strive for. Danny Elfman creates a love theme that he’s decided to play with Annie and the Wizard, and it’s an incomplete fragile broken thing. Later when the Wizard meets Glinda and their love story blossoms, you’ll hear that theme in all of its orchestrated fullness. It helps you feel that a mistake that he made in the past could be corrected, the same love can be reborn. He also added great mood when those winged baboons are around, and the drums and the horns come on. They’re very primal and they get your heart beating. He’s the emotion of the picture.
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Buzzine mewawancarai beberapa orang termasuk Danny Elfman, berikut kutipannya:
Nicole Rayburn: You’ve worked on so many phenomenal films in your career – what sets this one apart from the rest?
Danny Elfman: You know, this movie was one of those really, really rare ones. I've done close to 80 films and I can't think of, in the last 15, 20 years, where I've done anything where it just came so naturally and easily. It's just one of those knock-wood, "I wish they were all like this..."
But Sam and I talked a little bit and I just fell right into the groove, and the very first things I came up with became the themes. Usually there's a lot more struggle involved and I'm used to that, so to have it not happen, it was almost like a dream. So this really was my dream project.
NR: What was the collaboration process like?
DE: Well normally, I don't start on a movie until it's done. There's a director's cut, I look at it, and then I get ideas, and I go home and I work on it. In this one, Sam needed some of the music before he started shooting, so he came to me early on with the script and he says, "I need a waltz because they're going to dance to this waltz onscreen." So I quickly wrote a waltz and I gave it to him, and I said, "Here, it's a little music box theme." I didn't know that a year later I'd be coming back going, "Oh, yeah, is that the thing I wrote for you?" and it became the witches' theme in the movie. I'm just lucky that I wrote something that I liked a year later, because it could have been otherwise.
NR: Did you drawn any inspiration at all from the first movie?
DE: Really, no. The only thing we decided up front was that we would have no references to The Wizard of Oz, that this was its own entity and disconnected in every way, except the story links and that we're learning how Oz becomes the Wizard. But musically, we knew up front that we would not be touching anything from the movie—the original movie.
NR: Well, you have such a distinct sound that your music is instantly recognizable. What was it in particular about OZ that inspired this score?
DE: Well in this one, it's just one of those things where there's such a fabulous landscape to work in that it was just real easy to kind of cut loose and not be restrained, which is really fun.
NR: Did you have any particular characters who really got your creative juices flowing musically?
DE: Well, always it's the villain, so the witches. The witches' music was the most fun for sure.
NR: Well, the villains are also a big part of what Sam Raimi does – much of his work is very dark, whereas this film is a lot lighter.
DE: Well, this is definitely not like a Sam horror film, but he definitely has some moments in it that get pretty wild and crazy ... because it's still Sam. I mean if there's one link, whether it's a comedy or a horror film or a fantasy, it's always just a little crazy.
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Label Varèse Sarabande akan mengeluarkan box set lagi, hurah!! Berikut kutipannya:
Varèse Sarabande’s 35th Anniversary will be our biggest celebration yet! Historic in scope, we kick things off with this epic 4CD set of extraordinary film music.
Continuing our series of anniversary film music compilations, we have produced a blockbuster to celebrate our 35th. There is no duplication here. For our 35th anniversary we look back at our greatest releases over the last five years. And being the biggest and most prolific film music record label in the world, that meant we had over 250 soundtracks to choose from!
Averaging over 60 new soundtrack releases a year, Varèse Sarabande’s catalog features virtually every great name in film music. A list of just a few of the composers included here includes the late Jerry Goldsmith, along with Hans Zimmer, Alexandre Desplat, John Powell, Danny Elfman, Thomas Newman, Alan Silvestri, James Newton Howard, Mark Isham, Ramin Djawadi, Patrick Doyle, James Horner, Mychael Danna, Michael Giacchino, John Debney, Marco Beltrami, Gabriel Yared, Brian Tyler and many more!
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Musik Danny Elfman yang dirilis oleh Varèse Sarabande sejak tahun 2008 adalah Standard Operating Procedure (2008), Hellboy II: The Golden Army (2008), The Wolfman (2010), dan Real Steel (2011).
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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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.
American Film dari American Film Institute mewawancarai Danny Elfman, berikut kutipannya:
I had a kind of unique situation in the writing of OZ. I’ve had a very busy, hectic year, and I was a little worried about my energy, coming into such a big score. And for reasons that I still haven’t figured out, I fell into the most rhythmically perfect writing period that I think I’ve ever experienced. Without trying, I fell into the themes really easily and I just started writing it. And every day I was looking at what I’d written and I was going, "I’ve never written that much before!" I’m used to writing, struggling to get two minutes a day and I was finding three and three and a half and even four-minute days, but I wasn’t trying! It was really weird. I actually finished the score two and half weeks, three weeks ahead of schedule, which is incredibly bizarre. It was such a magical thing that when I went back to work on my next film it was more like my usual torturous process.
I’ve actually had extended dreams where I say in the dream "This is ridiculous, I’m dreaming!" And some technicians come out and go, "No, no, no... you’re hooked up to a hard-drive, everything you’re working on is getting saved." "Really?" "Absolutely." "This is fool-proof?" "In fact, there’s a redundant backup system, even if it crashes, everything’s being saved." So I continue writing, I continue working. And of course, I wake up, and it’s like "Nooooooo...!"
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Studio: Roth Films, Curtis-Donen Productions, Walt Disney Pictures
Sutradara: Sam Raimi
Composer: Danny Elfman
Tanggal rilis film: 8 Maret 2013
Tanggal rilis soundtrack: 5 Maret 2013
Label: Intrada
Track list:
01. Main Titles 2:57
02. A Serious Talk 2:23
03. Oz Revealed 1:58
04. A Strange World 1:48
05. Where Am I?/Schmooze-A-Witch 2:05
06. Fireside Dance 1:19
07. Meeting Finley 1:57
08. The Emerald Palace 0:47
09. Treasure Room/Monkey Business 2:56
10. China Town 3:07
11. A Con Job 1:47
12. Glinda Revealed 1:43
13. The Munchkin’s Welcome Song 0:41
14. Bad Witch 4:32
15. The Bubble Voyage 2:48
16. Great Expectations/The Apple 4:58
17. Meeting the Troops 1:18
18. What Army? 0:29
19. Theodora’s Entrance/A Puppet Waltz 1:51
20. A Threat 2:07
21. Bedtime/The Preparation Montage 7:00
22. Call to Arms 2:13
23. Destruction 2:38
24. Oz The Great and Powerful 1:25
25. Fireworks/Witch Fight 1:39
26. Time for Gifts 5:54
27. End Credits from Oz 1:59
Sensational new score by Danny Elfman for Disney's new movie. Intrada proudly presents soundtrack as latest co-brand with Walt Disney Records. Danny Elfman anchors with gentle music box tune, then expands idea into large-scale orchestral work, including chorus. Moments of truly imaginative color trade with massive action set pieces, music of light trades with music of darkness. Everywhere, magical Elfman melody abounds! Contrasting music for iconic witches amongst many highlights.
Belum ada di iTunes Indonesia grrr... Lihat lengkapnya di sini.
Berita lama, lupa dilaporkan karena satu dan lain hal uhuk! Tanggal 21 Februari kemarin, International Film Music Critics Association mengumumkan para pemenang penghargaannya, berikut kutipannya:
Hollywood A-lister DANNY ELFMAN was named Film Composer of the Year for his outstanding body of work in 2012, during which he composed music for such popular and successful films as DARK SHADOWS, FRANKENWEENIE, HITCHCOCK. MEN IN BLACK III, PROMISED LAND and SILVER LININGS PLAYBOOK. Elfman’s music in 2012 ran the gamut of styles and genres, from the soft rock of Silver Linings Playbook to the Gothic atmospherics of Dark Shadows and Frankenweenie, to the subtle Bernard Herrmann echoes of Hitchcock, cementing his position as one of the most versatile and sought-after composers working today. This is the second Composer of the Year Award Elfman has received from the IFMCA, having previously been similarly honored for his work in 2008.
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Wawancara dengan Danny Elfman di acara pemutaran perdana Oz: The Great and Powerful.
Wawancara yang informatif mengenai Oz: The Great and Powerful, lihat videonya di sini.
Press release resmi untuk score album Oz: The Great and Powerful, berikut kutipannya:
Elfman said, "I didn't really go in with any sense of what I wanted to do other than just to follow the film. It was incredibly clear because the characters and what they were doing, and what their quests were, and what needed to be done, were all laid out, so I fell into it very easily." Elfman employed a traditional orchestra for the film to give the music a classic feel. He relates, "Sam did want a very strong, traditional feel to this movie. I think there has always been the feeling that we'd like to try to give it a classic feel and a timelessness."
In an interview with the Los Angeles Times Raimi said, "Danny has a grand arsenal of musical abilities. He's able to create a sweeping gigantic sound that can really describe a tremendous scale and help us create this very unique world that Frank Baum wrote about, the land of Oz."
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Soundtrack ini tadinya hanya dapat dibeli lewat AmazonMP3 dan iTunes (termasuk iTunes Indonesia, hurah!), tapi ternyata Yesasia menyediakan versi CD-nya. Pesan CD-nya di sini.
Studio: Roth Films, Curtis-Donen Productions, Walt Disney Pictures
Sutradara: Sam Raimi
Composer: Danny Elfman
Tanggal rilis film: 8 Maret 2013
Tanggal rilis soundtrack: Maret 2013
Label: Intrada
Track list:
1. Main Titles
2. A Serious Talk
3. Oz Revealed
4. A Strange World
5. Where Am I?/Schmooze-A-Witch
6. Fireside Dance
7. Meeting Finley
8. The Emerald Palace
9. Treasure Room/Monkey Business
10. China Town
11. A Con Job
12. Glinda Revealed
13. The Munchkin’s Welcome Song
14. Bad Witch
15. The Bubble Voyage
16. Great Expectations/The Apple
17. Meeting the Troops
18. What Army?
19. Theodora’s Entrance/A Puppet Waltz
20. A Threat
21. Bedtime/The Preparation Montage
22. Call to Arms
23. Destruction
24. Oz The Great and Powerful
25. Fireworks/Witch Fight
26. Time for Gifts
27. End Credits from Oz
Tracksounds mengumumkan nominasinya untuk Cue Awards 2012, berikut daftar nominasi untuk beberapa kategori:
Composer of the Year
Alexandre Desplat
Danny Elfman
Naoki Sato
Howard Shore
James Horner
Best Animated Score
Brave (Patrick Doyle)
Frankenweenie (Danny Elfman)
The Lorax (John Powell)
Rise of the Guardians (Alexandre Desplat)
Wreck-it Ralph (Henry Jackman)
Cek di situsnya di sini.
Situs The Royal Albert Hall mengumumkan bahwa mereka akan menggelar konser musik-musik Danny Elfman untuk film-film Tim Burton. The Royal Albert Hall adalah sebuah concert hall di London, Inggris. Berikut kutipannya:
On Monday 7 October 2013, the Royal Albert Hall will be hosting an exclusive World Premiere of Danny Elfman’s Music from the Films of Tim Burton, celebrating the extraordinary collaboration between the acclaimed composer and visionary filmmaker.
The concert will see Danny Elfman‘s famous Tim Burton film scores brought to life on stage by the BBC Concert Orchestra conducted by John Mauceri, whilst visuals from Burton’s original production artwork, sketches and drawings are displayed on the big screen. There will also be an exclusive special guest performance by four-time Oscar-nominated Danny Elfman himself, making his first public singing performance in 18 years.
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International Film Music Critics Association merilis para nominees-nya, berikut ini beberapa kategorinya:
FILM COMPOSER OF THE YEARMYCHAEL DANNAALEXANDRE DESPLATDANNY ELFMANFERNANDO VELÁZQUEZJOHN WILLIAMS
BEST ORIGINAL SCORE FOR A COMEDY FILMMOONRISE KINGDOM, music by Alexandre DesplatSALMON FISHING IN THE YEMEN, music by Dario MarianelliTHE SESSIONS, music by Marco BeltramiSILVER LININGS PLAYBOOK, music by Danny ElfmanTED, music by Walter Murphy
BEST ORIGINAL SCORE FOR AN ANIMATED FEATUREBRAVE, music by Patrick DoyleFRANKENWEENIE, music by Danny ElfmanPARANORMAN, music by Jon BrionRISE OF THE GUARDIANS, music by Alexandre DesplatSECRET OF THE WINGS, music by Joel McNeely
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Tanggal 10 Januari lalu, LA Times merilis cerita mengenai Danny Elfman dalam membuat musik untuk Oz: The Great and Powerful, berikut kutipannya:
In one instance, though, that directive proved especially tricky — when writing a song for a sequence in which a group of happy Munchkins welcome James Franco’s Oz to the Emerald City, Elfman found himself in something of a predicament.
“These Munchkins are little people in a joyous town of fantasy singing an up-tempo welcoming song. There really aren’t that many ways to apply that,” Elfman said during a recent interview in his home studio in Los Angeles.
“‘Oz’ was very clear, what the tone was,” he said. “We’re going to take an approach that’s old school but not self-consciously old fashioned. Let the melodrama be melodrama, let everything be what it is. I also think there’s the advantage that I’m able to write narratively, and when I’m able to write narratively I can also move quicker because that’s my natural instincts, I can tell a story in the music.”
As for that Munchkin song? Elfman said in the end, he opted to sing that number himself — and he did not alter his voice to give it any kind of familiar ring. No Lollipop Guild retreads here, but maybe not a radical departure from the past either.
“They’re still singing, and they’re still merry,” Elfman said.
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Situs Movie Wave me-review Silver Linings Playbook score album, berikut kutipannya:
The short score album (available as a download from Sony Classical) starts promisingly, with the engaging “Silver Lining Titles” a piece of nice, if fluffy, instrumental 60s-style pop, enlivened by some trademark silly vocals.
It’s rather downhill from there, with the remainder of the score getting ever fluffier and moving away from that distinctive 60s sound established in the opening cue into standard guitar-and-piano romantic comedy music which could, frankly, have been written by anyone. Some of the tunes really do sound like they could be instrumental bridges from popular songs, but they’re never that memorable in and of themselves. The main body of the underscore could be represented perfectly well by the single track “Happy Ending”, a shade under four minutes and a shade under a dollar from iTunes. It’s all pleasant, it’s all completely inoffensive, but also so inconsequential.
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Situs Tracksounds me-review Silver Linings Playbook score album, berikut kutipannya:
DANNY ELFMAN was hired to fill in the gaps with a short original score, easily the least substantial of his impressive six assignments of 2012. Ditching the orchestra, ELFMAN opted to assemble a light rock ensemble for the project, augmented by piano, some synthetic overlays and – most notably – his own vocal talent layered several times on top of itself to create a small oohing-and-aahing choir in much the same way BRIAN TYLER has occasionally done for early and/or low-budget projects. That choir lends a definite and somewhat cheesy 60s-retro vibe to SILVER LININGS PLAYBOOK, equating the psychedelia of that decade to the confused state of the protagonists’ minds.
SILVER LININGS PLAYBOOK is the sort of score that ELFMAN probably could have written, performed (probably largely by himself) and recorded over a weekend, but it doesn’t necessarily suffer for that. Don’t go in expecting EDWARD SCISSORHANDS, obviously – the movie didn’t exactly allow for it – but if it’s a brief, breezy and upbeat listen you require, you could do a lot worse.
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Bulan Desember 2012, iTunes Store sudah dapat diakses di Indonesia, berikut kutipan salah satu beritanya:
In July, Indonesia was the lone country passed over when Apple rolled out iTunes across Southeast Asia. The company declined to say why, but many local industry observers attributed it to problems of piracy, with some saying iTunes would never be profitable in a country where illegal 50-cent CDs and DVDs abound. Indonesia’s iTunes store was limited only to a catalog of applications for use with the iPhone and iPad.
But beginning Tuesday, users of iTunes were able to access a new version of the store, where they can pay 5,000-7,000 rupiah (50-70 cents) to download songs and 45,000-75,000 rupiah ($4.60-7.80) for albums.
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Beberapa lagu dan album Danny Elfman dapat dibeli di iTunes termasuk Silver Linings Playbook yang tidak ada physical release-nya, sayang sampai saat ini Promised Land tetap belum ada walaupun iTunes di luar sudah ada. Download iTunes di sini.
Film Music Magazine memberi rekomendasi untuk bulan Desember 2012 dan Hitchcock termasuk salah satu dari lima yang direkomendasikan. Silver Linings Book juga disinggung. Berikut ini kutipannya:
Extra Special: If the slashing strings of “Psycho” didn’t immediately identify Herrmann (with the shower scene music thankfully not repeated here), then the orchestral version of pianist’s Charles Gounod’s “Funeral March For A Marionette” comes in second as the signature theme for “Alfred Hitchcock Presents,” a darkly droll piece that’s wittily used to wrap the album up with.
If this golden “Playbook” had a dangerous sense of unpredictability that gave its lunatic love story a real edge, then part of that credit goes to filmmaker David O. Russell’s surprisingly whimsical choice in music. And one particularly inspired choice was giving Danny Elfman, a composer best known for ghoulish black comedy, the chance to go for positively sunny quirk. Think John Lennon in Elfman’s peace and love guitar stylings, beatific chorus and quirky percussion
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The Hollywood Reporter mengumpulkan enam composers dan mewawancarai mereka, berikut kutipannya:
Writing music often is a solitary pursuit, so it was no wonder that when six renowned composers -- Marco Beltrami, 46 (The Sessions), Mychael Danna, 54 (Life of Pi), Alexandre Desplat, 51 (Argo, Moonrise Kingdom, Rise of the Guardians,Zero Dark Thirty), Patrick Doyle, 59 (Brave), Danny Elfman, 59 (Frankenweenie, Hitchcock, Promised Land,Silver Linings Playbook), and Fernando Velazquez, 36 (The Impossible) -- gathered in one room, they relished the chance to discuss the complexities of their trade as part of THR's roundtable series. The setting for this gathering of scoring heavy hitters and potential Academy Award nominees: a soundstage sans musicians but with the familiar trappings of a workspace they know all too intimately. Indeed, the high-pressure undertaking of putting music to picture can be a painful process, but the rewards, like a perfectly formed, unforgettable melody, are worth every sacrifice -- and there are many.
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Situs Scoretrack me-review Hitchcock, berikut kutipannya:
It is also possible to find some sort of humour/sarcasm to this dead-serious atmosphere with “Funeral March For a Marionette” and the jazzy/sexy “Selling Psycho”. The overall lesson for Elfman is that grey, black and beige are also nice and they match with everything else. So let’s try them!
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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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AMPAS mengumumkan scores yang bisa mendapatkan nominasi Oscar, berikut kutipannya dari The Hollywood Reporter:
One hundred and four scores from eligible feature-length 2012 films are in contention for nominations in the Original Score category for the 85th Academy Awards
Lima score dari Danny Elfman termasuk yang bisa mendapat nominasi yaitu Dark Shadows, Frankenweenie, Hitchcock, Men in Black 3, dan Promised Land. Dark Shadows, Frankenweenie, dan Men in Black 3 tentu saja bukan Oscar material jadi kemungkinan Hitchcock dan Promised Land, terutama Hitchcock.
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Variety mem-publish tulisan Jon Burlingame mengenai Danny Elfman, berikut ini kutipannya:
Danny Elfman is finishing his busiest year ever, with no fewer than six films in the marketplace, including two for longtime collaborator Tim Burton ("Dark Shadows," "Frankenweenie") and "Men in Black 3" for Barry Sonnenfeld.
Three more have arrived in time for awards season: "Hitchcock," Sacha Gervasi's offbeat making-of "Psycho" drama; "Silver Linings Playbook" for director David O. Russell; and "Promised Land" for another regular collaborator, Gus Van Sant (whose "Milk" and "Good Will Hunting" earned Elfman score Oscar noms).
As for "Promised Land," Elfman's initial thought was "Midwest, a simple story, country folks, I'll use fiddles and guitars." But Van Sant's attitude about music, Elfman says, is always, "let's try something completely different." He saw all the marimbas in Elfman's studio and so marimba wound up as a key musical component.
As it turns out, strings, marimba, guitar (and sometimes human voice) predominate.
"Gus is fearless," Elfman says. "He just likes to try things, and that makes it fun for me. What is or isn't right can be a subjective thing. With 'Promised Land,' it was intimate and small -- a chamber orchestra."
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Situs Filmtracks me-review Hitchcock, berikut kutipannya:
Buy it... if you seek a throwback to Danny Elfman's early orchestral works of fiendish humor, his personality implanted well upon the topic despite limited opportunities to develop his effective themes for the famed director and his wife.
Avoid it... if you wish to hear Elfman channel Bernard Herrmann for the entirety of Hitchcock, for while he certainly rolls out such nods several times, this remains a score saturated with Elfman's own style.
Overall, Hitchcock is a fun score for the Elfman enthusiast and contains enough substance to justify its rather short album presentation. The themes do seem slightly underutilized, especially in how Elfman alternates between the darker and upbeat variations on the identity for the titular character. Then again, many of the film's best conversational moments exist without any music spotted in them, so the composer may have been restricted a bit in his opportunities for deeper development. Elfman collectors will be especially thrilled by how much of the composer's own musical personality thrives in this context, further connecting him with the Hitchcock and Herrmann legacy.
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Situs Filmtracks me-review Silver Linings Playbook, berikut kutipannya:
Buy it... on the score-only album if you wish to hear the best material Danny Elfman wrote for this picture, the song compilation product inexplicably including the least redemptive portions of the score.
Avoid it... unless you are an Elfman completist and can justify an unsubstantial, 20-minute album with your established soft spot for his heartfelt, contemporary romance style for small, light pop ensembles.
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Sudah agak lama situs IMDb me-list Danny Elfman sebagai composer untuk film Shoe Addicts Anonymous. Film ini adalah adaptasi dari novel berjudul sama karya Beth Harbison, disutradarai oleh Paul Weiland, dan dibintangi oleh Halle Berry. Filmnya belum memiliki tanggal rilis, hanya disebutkan akan dirilis tahun 2013.
Tidak ada informasi dari situs lain, termasuk dari situs agennya Danny Elfman, dan informasi dari IMDb belum tentu benar jadi yuk mari kita tunggu. Untuk ke situs filmnya di IMDb, klik di sini.
Dari L.A. Times, berikut kutipannya:
"With another director," Elfman said, "I may have tossed up my hands and just said, 'I can't handle this.' I like him personally, though, so I was able to kick back and relax and just let him go where he goes. If there ends up being music, there's music, if there ends up being no music, then that was my job. My job was to show him that he doesn't want any music."
In the end, there was music. "Silver Linings Playbook" was an anomaly among Elfman's scores. Largely centered on a jangly guitar, a cresting piano and fragile vocal harmonies, it was pop-focused and full of odd little melodies.
And though the composer does not like comedies ("It is a genre that is clearly off my list. I do not do them"), "Silver Linings" hooked him, and that's because it reminded Elfman of films that no longer exist. "I felt like this was Frank Capra and Billy Wilder. This film connected with a period when I actually did like romantic comedies."
Elfman had already revisited the work of famed composer and Alfred Hitchcock collaborator Bernard Herrmann, so he instead used a small orchestra and actually played it not too unlike that of an old-fashioned romantic comedy. Violins carry the score, but they're in a constant give-and-take with French horns and a piano.
"The music is in many elements a comedy, and Sacha [Gervasi] wanted to make it clear that it's OK to have fun with sections of this movie," Elfman said. "The heartfelt part needed to be very heartfelt. I tried to create an old-fashioned romantic theme, not from any particular era but in the mold of how a classic romantic theme might be."
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Berita rada lama nih, status IRIS by Cirque du Soleil di Facebook tanggal 1 Desember adalah sebagai berikut:
After close to 500 well received shows at the world renowned Dolby Theatre, the last performance of IRIS by Cirque du Soleil will be January 19, 2013. Despite phenomenal reviews and enthusiastic audience response, demand has not met projections. We have been honored to work with both the City of Los Angeles and the CIM Group to launch IRIS at this iconic location. It has been a joy to stage IRIS in the beautiful state-of-the-art Dolby Theatre and we appreciate the wonderful relationships we have built in Los Angeles. For the time being, we will redeploy as many as our artists and employees to other Cirque du Soleil projects.
Performances of IRIS from 20 January through 26 January have been canceled. Any customer who has purchased tickets for these performances, please return to your point of sale for a refund or exchange into another performance.
Awww :(
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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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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Randall Larson di Soundtrax: Episode 2012-11 tanggal 6 Desember 2012 me-review Hitchcock score album, berikut kutipannya:
Elfman does not provide pastiches of the PSYCHO score here but rather reflects its sensibility in his score’s orchestration and harmonic structure (the End Titles are perhaps the most distinctly Hitchcockian/Herrmannesque in their string and horn intonations). It’s very much a Danny Elfman score, and a superior one at that, evoking the personality of Hitch as only Elfman can, while also conveying a very heartfelt and honest emotion for his intense regard for Alma.
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Situs Deadline mewawancarai Danny Elfman, berikut kutipannya:
After composing five film scores straight, without a weekend off, it’s fair to that Danny Elfman has had a very long year. Still, there was no limit to what he would do to work on a film about his idol, Alfred Hitchcock. “I don’t know how I’m going to do this, but I have to do this,” Elfman recalls about committing to Fox Searchlight’s Hitchcock, which was scheduled for delivery right before his opus on Disney’s Oz: The Great And Powerful. “I wouldn’t have a film-music career if it wasn’t for Bernard Herrmann, who has inspired me since the age of 12.”
“He literally bought sections of the orchestra out of his own pocket,” says a gobsmacked Gervasi. “We were recording with the top musicians in London, and we couldn’t afford to keep them through lunch. Danny asked the orchestrator, ‘How much do the violas cost? 3,000£? I’ll take them. How much for the French horns?’ And Danny held the musicians through lunch.”
Also keeping Elfman at the top of his game is the company he keeps with offbeat directors who challenge him. At first, when Elfman heard Silver Linings Playbook was a romantic comedy, he resisted. “That is the genre that I feel no affinity toward at all, and it’s the only one I stay away from. I did a few early on in my career, and they were incredibly difficult.”
“I was playing around with instruments and put my vocals onto one piece as a goof, and David was like, ‘Do more of that! Do more of that!’, like he was producing me. Before we knew it, that’s what we were doing,” Elfman says with a laugh. “It was really crazy and off the track of what I’m usually doing, which is writing very intense, big scores.”
As one of the few scoresmiths who can churn out a panoramic orchestral creation, Elfman will likely get his due from the Academy one day. Already his eighth reteaming with Sam Raimi, Oz: The Great And Powerful, sounds like the type of epic, á la Lawrence of Arabia, that voters crave.
“The movie has this big, blustery old-fashioned feel, and I wanted to give it a big, effective, narrative score,” Elfman says. “It’s huge—105 minutes of music.”
A very good read. Baca lengkapnya di sini.
Situs Film Music Media me-review soundtrack Hitchcock, berikut kutipannya:
The album is about 40 minutes long, which is quite short these days as film music fans have become accustomed to 1 hour plus OST releases and even longer archival ones. The average track length is roughly a minute and a half, so while it may initially feel disjointed, the album works tremendously well as a whole in the end. It breathes and does not feel too quick nor does it overstay its welcome.
In a year of Elfman duds, Hitchcock is a lovely gust of fresh air from the composer. Dark Shadows, Men In Black 3, and Frankenweenie all disappointed, yet this one ultimately delivers and displays Elfman's contemporary drama writing wonderfully. While the "Theme From Hitchcock" is less melodic and developed than other great Elfman themes, the score as a whole will keep listeners delighted without tethering you to your music player for too long.
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Situs Film Music: The Neglected Art me-review soundtrack Hitchcock, berikut kutipannya:
Highlights include the opening Logos which are lead by the harps while the reeds in the background enhance the creepy mood with harmony in the way of pizzicato strings. This is merely a prelude for the Theme from Hitchcock, a Largo tempo, which features yearning strings and a clarinet offering the harmony. It is a theme that will be repeated throughout the score, a motif for Hitchcock.
I found that with repeated listens much of the subtle nuances that Elfman used will come to the surface. It overall has a Herrmann sound but it doesn’t. It has an Elfman flavor but it isn’t. The music style incorporated is an Elfman original which is also a tribute to one of the finer film composers of all time Bernard Herrmann. Recommended
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Situs Film Music Media me-review Silver Linings Playbook score album, berikut kutipannya:
The score only clocks in just over 20 minutes, so while it is quite brief, Elfman does not fail to prick your ears up. Piano, guitar, and elated choir invoke a wonderful feel-good mood that is unique to Elfman's style without ever really sounding like anything he has done before. The music is mono thematic; whichever track you choose to play will run you into some variation of it filtered through the instrumentation mentioned above. Due to this, the score can tend to run out of steam surprisingly quick despite its short length. The final cue, "Good Track," features, you guessed it, goofy lyrics about the actors in the film superimposed over the theme.
Elfman's quirky and lighthearted drama score does not get a good work out in terms of orchestration, but if you are in the mood for something short and sweet, look no further. Recommended for diehard Danny Elfman fans or for those who enjoyed the film, the sparsity of the music here may fail to draw in casual listeners.
Tepatnya "Goof Track", baca lengkapnya di sini.
Situs Movie Music UK me-review score album Silver Linings Playbook, berikut kutipannya:
Being a contemporary comedy-drama, the film didn’t require an elaborate score for a full orchestra, so instead Elfman dipped back into his bag of tricks and emerged with a light, tuneful orchestral-rock score that plays like a combination of his score for Midnight Run back in the 1980s, Taking Woodstock from 2009, and the songs he wrote for Charlie and the Chocolate Factory in 2005, sans lyrics. The score is performed mainly by piano, guitars and percussion, with a few light synth overdubs here and there, and the occasional inclusion of a wordless male voice choir singing in a light pop style and a 1960s vibe
...it’s slight, short, inconsequential, but an enjoyable and undemanding diversion for anyone who enjoys Elfman’s melodious and carefree modern rock sound. In the film the score plays definite second fiddle to the numerous rock songs by artists like Stevie Wonder, the Dave Brubeck Quartet, Bob Dylan and Johnny Cash, but the memorable central piano melody is catchy enough to become a compilation favorite, and you may hear it played plenty of times at the Academy Awards ceremony in 2013. The score is a digital download only, and although it won’t appeal to score fans who only appreciate Elfman when he’s firmly entrenched in Batman mode, its well worth checking out for Elfman completists.
Procol Harum. Baca lengkapnya di sini.
Beberapa hari yang lalu, Focus Features mempromosikan film Promised Land untuk Academy Awards di situsnya. Musik latar belakangnya adalah lagu Snake Eyes dan score dari Danny Elfman. Ada 13 score tracks yang dapat di-downlo.. didengarkan di situs promo tersebut.
Promised Land adalah film terbaru Gus van Sant yang akan dirilis tanggal 28 Desember 2012. Film ini dibintangi oleh antara lain Matt Damon, Frances McDormand, dan John Krasinski. Cek situs promonya di sini.
Press release dari Sony Music, berikut kutipannya:
The soundtrack is by Danny Elfman, four-time Oscar® nominee who has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee, Rob Marshall, Guillermo del Toro, Brian De Palma, Peter Jackson and David O. Russell. Beginning with his first score on Tim Burton's PEE-WEE'S BIG ADVENTURE, Elfman has scored a broad range of films, including: MILK (Oscar nominated), GOOD WILL HUNTING (Oscar nominated), BIG FISH (Oscar nominated), MEN IN BLACK (Oscar nominated), EDWARD SCISSORHANDS, WANTED, CHARLIE AND THE CHOCOLATE FACTORY, MISSION: IMPOSSIBLE, PLANET OF THE APES, A SIMPLE PLAN, TO DIE FOR, SPIDERMAN (1 & 2), BATMAN, DOLORES CLAIBORNE, SOMMERSBY, CHICAGO, DICK TRACY, THE NIGHTMARE BEFORE CHRISTMAS and ALICE IN WONDERLAND. Most recently he provided the music for Gus Van Sant's PROMISED LAND, Tim Burton's FRANKENWEENIE and David O' Russell's SILVER LININGS PLAYBOOK. Up next for Elfman is Sam Raimi's OZ: THE GREAT AND POWERFUL.
The music for the shower scene of PSYCHO, written by Bernard Herrmann, is one of the most famous compositions in movie history. Hitchcock had wanted this scene without music, but was so pleased with the effect of screeching violins, violas, and cellos that he later stated that "33% of the effect of PSYCHO was due to the music." Herrmann's original score was adapted by Danny Elfman in 1998 when Gus Van Sant directed a remake – connections that now come full circle with the choice of Elfman as composer for HITCHCOCK. With the release of this soundtrack by Sony Music, fans of the great director Hitchcock and lovers of movie music will be able to enjoy for themselves the quality of Elfman's work.
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Situs Examiner mem-publish score review dari Danny Gonzalez untuk film Silver Linings Playbook dan memberi grade A-, berikut kutipannya:
the songs are solid and the best part is that Danny Elfman has written an exceptional score that really does work with the songs, but it's such a fun and catchy work. The score is pretty much and in some ways is an extension of his solid previous works for Good Will Hunting, To Die For and A Civil Action. There is a cheerful exuberance to Elfman's score that is very infectious and feels like forever since he's done something this much fun and joyful. From the on set starting with "Silver Lining Titles", Elfman utilizes a more intimate approach to the material with a smaller sized orchestra featuring acoustic guitar, keyboard, drums along with a terrific chorus that just has the feel of a Manhattan Transfer album that really is just infectious.
To have Elfman in this mode again is wonderful because you can really hear him having fun with the material and some of his best scores seem to be for more intimate and character driven stories like this one. Silver Linings Playbook is easily one of my favorite scores this year and also one of Danny Elfman's most enjoyable and engaging works in a really long time. Highly recommended.
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Studio: The Weinstein Company
Sutradara: David O. Russell
Composer: Danny Elfman
Tanggal rilis film: 21 November 2012
Tanggal rilis album: 16 November 2012
Label: Sony
Track list:
1. Silver Lining Titles
2. Running Off
3. Simple
4. With A Beat
5. Tiny Guitars
6. Walking Home
7. Silver Lining Wild-Track
8. The Book
9. Happy Ending 3:52
10. Goof Track 1:28
Sebelumnya hanya ada kabar mengenai song album untuk Silver Linings Playbook yang berisi dua score tracks dari Danny Elfman. Ternyata ada juga score album-nya, namun download only.
Studio: The Montecito Picture Company, Cold Spring Pictures, Fox Searchlight Pictures
Sutradara: Sacha Gervasi
Composer: Danny Elfman
Tanggal rilis film: 23 November 2012
Tanggal rilis album: 4 Desember 2012
Label: Sony Masterworks
Track list:
1. Logos
2. Theme from "Hitchcock"
3. The Premiere
4. Paramount / Out the Gate
5. Mommy Dearest
6. In Bed
7. Impulses
8. The Censor
9. The Swim
10. Peeping
11. Sacrifices
12. Walk With Hitch
13. Celery
14. Telephone
15. Suspicion
16. Explosion
17. Selling Psycho
18. Fantasy Smashed
19. The Sand
20. It's A Wrap
21. Busted
22. Saving The House
23. Finally
24. Home At Last
25. End Credit#1
26. End Credit#2
27. Funeral March for a Marionette
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