ALEXANDRE DESPLAT RECEIVES 7 INTERNATIONAL FILM MUSIC CRITICS’ 2010 AWARD NOMINATIONS, INCLUDING TWO FOR FILM SCORE OF THE YEAR
FEBRUARY 11, 2011 – The International Film Music Critics Association announces its list of nominations for excellence in musical scoring in 2010, with French composer Alexandre Desplat leading the field with 7 nods including THE KING’S SPEECH (3 nominations) and THE GHOST WRITER (4 nominations) for Film Score of the Year. Also nominated in this category are John Powell’s HOW TO TRAIN YOUR DRAGON (5 nominations), Daft Punk’s score to TRON: LEGACY (3 nominations) and Hans Zimmer’s INCEPTION (3 nominations).
Desplat, who also wrote the nominated score to HARRY POTTER AND THE DEATHLY HALLOWS PART 1, is short-listed for Composer of the Year along with John Powell (HOW TO TRAIN YOUR DRAGON); James Newton Howard (SALT, THE LAST AIRBENDER, NANNY MCPHEE RETURNS); Danny Elfman (ALICE IN WONDERLAND) and Hans Zimmer (INCEPTION).
2010 Film Categories
FILM SCORE OF THE YEAR
• THE GHOST WRITER, music by Alexandre Desplat
• HOW TO TRAIN YOUR DRAGON, music by John Powell
• INCEPTION, music by Hans Zimmer
• THE KING’S SPEECH, music by Alexandre Desplat
• TRON: LEGACY, music by Daft Punk
FILM MUSIC COMPOSITION OF THE YEAR
• ALICE IN WONDERLAND – “Alice’s Theme” (Danny Elfman)
• THE GHOST WRITER – “The Truth About Ruth” (Alexandre Desplat)
• HOW TO TRAIN YOUR DRAGON – “Forbidden Friendship” (John Powell)
• HOW TO TRAIN YOUR DRAGON – “Test Drive” (John Powell)
• THE LAST AIRBENDER – “Flow Like Water” (James Newton Howard)
FILM COMPOSER OF THE YEAR
• Alexandre Desplat
• Danny Elfman
• James Newton Howard
• John Powell
• Hans Zimmer
Fiuh, The Ghost Writer.. at last ada yang memberi nominasi buat score ini, ini mustinya yang jadi score of the year. Danny Elfman mendapat tiga nominasi, Best Original Score for a Fantasy/Science Fiction/Horror Film untuk untuk Alice in Wonderland, Film Music Composition of the Year untuk "Alice's Theme" dari Alice in Wonderland lagi dan dan Film Composer of the Year, plus Best Archival Release of an Existing Score untuk Batman Returns, tapi itu penghargaan buat album producers-nya.
Baca artikel lengkapnya di sini. Pengumuman pemenangnya tanggal 25 Februari 2011, slamat ya!
Walt Disney and state-owned Shanghai Shendi Group Co. plan to jointly open the first Disneyland Park in China in Shanghai. The Shanghai government is spending 40 billion yuan on infrastructure for the park, expected to open in 2015, in the city’s Pudong area, according to the Shanghai Daily.
“We’ll probably go to Shanghai Disneyland instead of coming to Hong Kong in the future because the commute from Beijing is shorter,” said Zhang Wensheng, 40, who went to the Hong Kong park for the first time last week with his six-year- old son. “I heard the park in Shanghai will be much bigger in size too.”
Hong Kong Disneyland, 47-percent owned by Burbank, California-based Walt Disney, will fight back later this year with the unveiling of “Toy Story Land,” based on the exploits of toy spaceman Buzz Lightyear and his cowboy friend Woody. The latest film in the series was nominated for an Academy Award for Best Picture. Disney is hiring musician Danny Elfman to compose music for another attraction “Mystic Point,” which along with “Grizzly Gulch” will be ready by 2014.
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Hari ini di-upload video baru mengenai Elfman-Burton Music Box, kali ini mengenai bukunya, Danse Macabre, this is a must-see video. Berikut kutipannya:
Tim Burton, Danny Elfman, and others involved in the production of THE DANNY ELFMAN & TIM BURTON 25TH ANNIVERSARY MUSIC BOX offer a behind-the-scenes look at the creation of DANSE MACABRE, a 264-page book included in this project.
This meticulously researched and lavishly illustrated book features a foreword by Johnny Depp, as well as rare photos, stories, and interviews from the cast and crew, behind-the-scenes of this classic music—from the early days of Elfman's band Oingo Boingo to the recent blockbuster film, Alice In Wonderland.
This comprehensive 10"x10" keepsake, fine linen-wrapped hardbound book with gold foil stamping is produced exclusively for this collection. DANSE MACABRE: 25 YEARS OF DANNY ELFMAN AND TIM BURTON is written by acclaimed film-music journalist Jeff Bond and designed by Grammy-winning designer Matt Taylor.
Over 80 actors, writers, directors, composers, editors, singers, and others were interviewed to paint a compelling picture of this historic teaming of Elfman and Burton.
Interviewed are such collaborators and peers as:
Allison Abbate (producer)
Bill Abbott (music editor)
Jon Amiel (director)
John August (writer)
Bob Badami (music editor)
Rick Baker (makeup artist)
Steve Bartek (orchestrator)
Timur Bekmambetov (director)
Jon Brion (composer)
Paul Broucek (music department)
Jon Burlingame (author)
Tim Burton (director)
Carter Burwell (composer)
Helena Bonham Carter (actress)
Bruce Cohen (producer)
Denise Di Novi (producer)
Guillermo Del Toro (director)
Alexandre Desplat (composer)
Bruce Dukov (concert master)
Danny Elfman (composer)
Laura Engel (agent)
Bobby Fernandez (engineer)
Mike Gerhard (record producer)
Michael Giacchino (composer)
Philip Glass (composer)
Taylor Hackford (director)
Paul Haggis (director)
Don Hahn (producer)
Rick Heinrichs (production designer)
Dan Jinks (producer)
Joe Johnston (director)
Jeffrey Jones (actor)
Tom Jones (singer)
Michael Keaton (actor)
Lukas Kendall (record producer)
Mike Knobloch (music department)
Richard Kraft (agent)
Robert Kraft (music department)
Gary LeMel (music department)
Chris Lebenzon (editor)
Ang Lee (director)
Dan Vebber (writer)
Derek Frey (associate producer)
Deborah Lurie (composer)
John Mauceri (conductor)
Chris Montan (music department)
Erroll Morris (director)
Mark Mothersbaugh (composer)
Shawn Murphy (engineer)
Lennie Neihaus (conductor)
Kathy Nelson (music department)
Thomas Newman (composer)
James Newton Howard (composer)
Catherine O’Hara (actress)
Bobbi Page (singer)
Ken Page (actor)
Jon Peters (producer)
John Powell (composer)
Brett Ratner (director)
Paul Reubens (actor)
Emil Richards (musician)
David Rockwell (architect)
Doreen Ringer Ross (BMI)
Joe Roth (producer)
Deep Roy (actor)
Scott Rudin (producer)
Dennis Sands (engineer)
Ellen Segal (music editor)
Henry Selick (director)
Marc Shaiman (composer)
Edward Shearmur (composer)
Howard Shore (composer)
Alan Silvestri (composer)
Randy Spendlove (music department)
Twyla Tharp (choreographer)
Caroline Thompson (writer)
Suzanne Todd (producer)
Robert Townson (record producer)
Gus Van Sant (director)
Billy Weber (editor)
Bo Welch (production designer)
Taylor White (collector)
Richard Zanuck (producer)
Situs BurtonElfman.com merilis video terbaru mengenai Elfman-Burton Music Box, videonya bisa dilihat di Youtube.
Situs Examiner mem-publish review soundtrack The Next Three Days, rating lima bintang. Berikut kutipannya:
There was a reason why i picked this score as one of the top 20 of 2010 in my view and it's because Eflman's score is so engaging, so melodic and not to mention really exciting.The lengthy running time of over 71 minutes which includes Moby's songs don't feel like a very long album because of it's pace and it doesn't wear out it's welcome. It's a perfectly done album with the right amount of music and very good sequencing as well.
It's never too late to review a great score and album and The Next Three Days is just that. It's the quintessential Danny Elfman action score. Like The Kingdom and Proof of Life before them, this is one is a true standout of his recent works and I really hope he does continue this trend in his future scores.
Whichever version of this score you decide to get, it's worth it! This one is a real winner!
Baca lengkapnya di sini. Ngom-ngom, dari mana si Alberto Iglesias sempat terlibat apa segala, ngawur berat.
Situs The Second Disc mewawancarai MV Gerhard dari La-La Land Recods, label yang merilis banyak score album. Berikut kutipannya:
Reissues are hard to explain to people who aren’t aware of them, but sometimes it seems like the appeal of soundtracks – old or new – is harder to explain. As a professional, we invite you: why soundtracks?
Simply put – I love them! While my friends were listening to grunge music and West Coast rap in the late 80’s and early 90’s I turned my attention to the likes of John Williams, Danny Elfman and Danny Goldsmith. There are quite a number of soundtracks, when, upon their initial release, had lots of music left off for some reason or another. Now, many years later, I am honored to have the opportunity to revisit these treasures and share with my fellow soundtrack fans this extra music!
Baca lengkapnya di sini.
Berikut kutipan dari artikel Jon Burlingame di situs Film Music Society:
Earlier this week, Richard Kraft offered this startling revelation: "Jerry Goldsmith once told me that if he was ever making a movie, the composer he would choose to score it would be John Barry — because no one else was better at creating music that best captured the heart of a film." Veteran keyboard player Mike Lang, whose piano work graced many Barry scores, said "His music spoke from his heart and bonded with film as no other."
We have lost one of the true giants of the last 50 years of film music. But the legacy of John Barry — that extraordinary canon of themes, scores and sounds unique to the man and his times — remains. Future generations, just discovering Barry's music, will envy us; they will only be able to imagine how exciting it was to hear a new John Barry score for a film, a television show, a stage musical or an album. How lucky we were.
Baca lengkapnya di sini. Sad, sad news... Mr. Barry, thank you for your music...
I must commend La La Land, Neil S. Bulk, Dan Goldwasser and M.V. Gerhard for providing a superb reissue of this classic score. The score was re-mastered by James Nelson from Shawn Murphy’s first generation three-track digital mixes and the sound quality is pristine and excellent – a most welcome development given the poor recording of the original. In Batman Returns we see a significant maturation of style as well as more complex and sophisticated orchestration. Elfman not only builds upon the foundation he laid in Batman but introduces several new themes from which he intertwines and plays against each other with extraordinary effect. While the original film was all about Batman, in this sequel, the villains are more prominently featured and the score reflects this. The themes of the three principal characters are as much a part of them as their very sinews, and the score is perfectly attenuated to the film’s imagery. I highly recommend this score and believe it to be one of the best efforts in Elfman’s canon.
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Tanggal 18 Januari 2011 kemarin, British Academy of Film and Television Arts (BAFTA) mengumumkan nominasi untuk 2011, berikut untuk kategori musik:
ORIGINAL MUSIC
127 Hours - AR Rahman
Alice in Wonderland - Danny Elfman
How to Train Your Dragon - John Powell
Inception - Hans Zimmer
The King’s Speech - Alexandre Desplat
Siapa yang bakal menang? Media sepertinya condong ke pilihan tertentu, coba kita lihat judul-judul beritanya:
Rahman gets BAFTA nomination for 127 Hours
AR Rahman nominated for a BAFTA for 127 Hours
Rahman earns BAFTA nomination for ''127 Hours''
Dan salah satu yang paling sedap: BAFTA awaits Rahman?
Seddappp
Baca nominasi lengkapnya di sini.
BEST ORIGINAL SCORE
Trent Reznor and Atticus Ross - The Social Network
Alexandre Desplat - The King's Speech
Danny Elfman - Alice in Wonderland
A. R. Rahman - 127 Hours
Hans Zimmer - Inception
BEST ORIGINAL SONG
"You Haven't Seen The Last Of Me" – Burlesque, music & lyrics: Diane Warren
"Bound To You" – Burlesque, music: Samuel Dixon, lyrics: Christina Aguilera and Sia Furler
"Coming Home" – Country Strong, music & lyrics: Bob DiPiero, Tom Douglas, Hillary Lindsey and Troy Verges
"I See The Light" – Tangled, music: Alan Menken, lyrics: Glenn Slater
"There's A Place For Us" – The Chronicles Of Narnia: The Voyage Of The Dawn Treader, music & lyrics: Hillary Lindsey, Carrie Underwood and David Hodges
Like I said, third's time not a charm buat Danny Elfman. Kalau bukan score untuk The Social Network yang menang, hampir pasti jatuhnya ke 127 Hours. Okke baca daftar pemenang lengkapnya di sini yak.
Situs Soundtrack Express me-review Batman complete tanggal 11 Januari 2011, berikut kutipannya:
Batman by Danny Elfman is one of his finest scores, one of the most well regarded superhero scores and the breakthrough effort that put him well and truly on the map. Therefore, if you don't own it already, shame on you.
I guess if you're equipped with the original album and aren't a die hard Elfman fan, it's not an essential expansion given the rather limited amount of truly unreleased material, but for everyone else, yeah, go buy it. Great stuff.
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Berikut kutipannya:
Let’s face it: 2010 was a lousy year at the movies. Aside from a few gems, Hollywood seemingly left creative storytelling and original ideas at the door for lots of stupid in glorious 3-D.
New film music didn’t fare much better, which made it especially hard to do our annual year end best-of episode. So we cheated. Instead of a top ten list, we decided to open up the conversation and let the chips fall where they may. That means we discuss not only some of our favorite new releases of the year, but also the mountain of expanded editions and older scores released for the first time on the boutique labels.
Joining us for this episode (and hopefully more in the future) is special guest Mike Joffe, a producer at BSX Records and a respected member of the soundtrack community. Mike really adds some great insights that you’ll not want to miss.
Podcast-nya bisa diakses di situsnya di sini.
1. The Danny Elfman/Tim Burton 25th Anniversary Music Box Suite
2. Pee Wee's Big Adventure: Main Title/Bike Race
3. BeetleJuice: Main Title (with Elfman vocal intro)
4. Batman: The Batman Theme
5. Edward Scissorhands: Introduction (Titles)
6. Batman Returns: End Credits
7. Tim Burton's The Nightmare Before Christmas: End Title
8. Mars Attacks!: Main Title
9. Sleepy Hollow: Main Title
10. Planet of the Apes: Main Titles
11. Big Fish: Big Fish (Titles)
12. Charlie and the Chocolate Factory: Main Titles
13. Tim Burton's The Corpse Bride: End Credits Part 2 (Bonus Tracks from Bonejangles and his Bone Boys)
14. Alice In Wonderland: Alice's Theme
Jadi ada 14 tracks yaitu satu track dari music box yang kelihatannya bisa didengar di situs burtonelfman.com, sweeet, plus 13 tracks dari semua film Burton-Elfman sesuai tahun rilis; semacam highlight ya, niceeee!
Berita tanggal 29 Desember 2010 ni, tentang film-film yang memenuhi syarat untuk mendapat nominasi Oscar. Memenuhi syarat antara lain kebanyakan menggunakan musik lama, kebanyakan lagu dan termasuk juga bahwa score-nya di-submit ke juri AMPAS. Patoet diperhatikan bahwa ada dua dari tiga score Danny Elfman yang masuk ke dalam daftar ini yaitu Alice in Wonderland dan The Next Three Days. Score Danny Elfman yang tidak masuk adalah The Wolfman which I think is the best from the three, what a shame..
Eniweis, berikut kutipannya:
Last week came news that the musical scores for "True Grit," "Black Swan," "The Kids Are All Right" and "The Fighter" had been ruled ineligible by the Academy's music branch, either for using too much pre-existing music or for relying too heavily on songs.
Now that Academy voters have received the list of scores that did qualify, we can add "Toy Story 3" to the list of high-profile scores that aren't in the running – not because the branch ruled it ineligible, but because composer Randy Newman opted not to submit it.
Notable composers whose work isn't on the Oscar list: Harry Gregson-Williams for "Unstoppable," Desplat for "Tamara Drewe" and Dario Marianelli for "Agora."
Baca lengkapnya di sini.
Situs Hot Topic pada tanggal 26 Desember mem-publish video wawancaranya dengan Danny Elfman. Lihat videonya di sini.
Tanggal 22 Desember yang lalu, Daniel Schweiger mem-publish artikel CD Review: December Soundtrack Picks di situs Film Music Magazine. Salah satu yang direkomendasikan adalah Batman Returns: Limited Edition, berikut kutipannya:
Why should you buy it?: Though there’s little of the sound of Elfman’s Oingo Boingo songs in BATMAN RETURNS, the oompa-loompa calliope vibe that fueled the band is very much present in the pipe organs, taunting chorus, and rollicking xylophones that embody The Penguin’s Circus of Crime. And that’s not the only tuneful representation of characters here, as Elfman uses his string section to meow, hiss and slink about as it becomes the enticing claws of the Catwoman. Throw these completely oddball approaches in with the familiar, theme-heavy brooding of Batman, and you’ve got a delightfully unbalanced soundtrack that plays like Wagner trying to bash his way out of a Christmas parade from hell. It’s just one of the many merry prankster elements that multiplex audiences in 1992 didn’t begin to get about this cleverly seditious sequel.
Extra Special: La La Land Records follows up their complete Elfman BATMAN album by revealing just how complex Elfman’s seeming madness was. With this double album’s score clocking in at nearly 90 minutes, this bells and whistles presentation adds even more hell-bent-for leather romance to the Catwoman confrontations, an eerie underbelly to the Penguin’s zoo hideout and more thunderous charging that sends Batman to the villains’ lair. Put on numerous alternates and original album versions, plus a cocktail band version of Rick James’ “Superfreak,” and this new, expansive BATMAN RETURNS reveals itself as what could be considered Elfman’s ultimate mock superhero opera.
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Tanggal 19 Desember yang lalu, situs Movie Wave mem-publish review-nya untuk The Next Three Days, rating-nya 3/5. Berikut kutipannya:
The more ambient material is OK for what it is; while few people would pick this piece of Elfman’s bag of tricks as their favourite, he certainly does it well in terms of supporting a film. Sustained strings, synth pads and repeated electric guitar chords are used to good effect. From the album’s point of view, the trouble is that sustained strings, synth pads and repeated electric guitar chords don’t make for the most fascinating listening; and they make up the bulk of the opening 40 minutes. Some of the harmonic progressions are quite beautiful, but they can only do so much. Occasionally the composer opts to stay purely orchestral, as with the excellent, moving “All is Lost”; these passages are impressive. As the album progresses, the pace increases a little and there is slightly more of a feeling of the music going somewhere.
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Pada tanggal 13 Desember 2010 yang lalu, Daniel Schweiger merilis daftar score terbaik tahun 2010 versinya di situs Film Music Magazine, termasuk di antaranya adalah The Next Three Days, berikut kutipannya:
There have been far splashier Danny Elfman scores this year with ALICE IN WONDERLAND and THE WOLFMAN, not to mention pictures that did far better at the box office. Yet it’s Paul Haggis’ terrific, and unfortunately neglected film where Elfman delivered what’s arguably one of his most interesting and dramatically effective scores in many a beast-filled moon. Here the accent is on the family noir, as constantly propulsive rhythms move a suburban dad to break his beloved wife out of stir. And we know exactly the kind of anguish, and fatherly love that’s driving his actions in Elfman’s understated music, with remarkably flowing themes binding the score, with all roads leading to the big, relentlessly suspenseful nine-minute breakout that stands as one of the composer’s most remarkable action cues, or pieces of music for that matter. When tender pianos, a gospel voice and a near fairy-tale melody finally reunite a family torn asunder, the effect is one of supremely moving understatement, showing Elfman as much a master of the human condition as he is of the fantastical creatures that are more often put in his scoring crosshairs.
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Situs Cheekopek Hollywood mewawancara Danny Elfman sehubungan dengan Elfman-Burton Music Box. Baca dan lihat video wawancaranya di sini.
Pada tanggal 14 Desember yang lalu, situs Artist Direct mem-publish wawancara dengan Danny Elfman mengenai Elfman-Burton Music Box. Berikut kutipannya:
Do you have particular memories about the Sleepy Hollow score?
Yeah, it was just really fun. I didn't really know exactly what I was going to do with it. Once again, the main theme of "The Headless Horseman" wasn't The Horseman's first theme that I wrote. It became "Ichabod Crane's Childhood Theme." I ended up with this theme for him as a child and it started just following him. I just learned somewhere along the way never to argue with those impulses because they're doesn't have to be rhyme or reason. Nothing has to make sense. In fact, sometimes it's better that it doesn't. I'll look back later and go, "Well, I could see psychologically how this would've fit with this." At the time, I'm not thinking that way at all. It just kept coming back.
I loved The Headless Horseman. I was incredibly proud of Tim because it's the first time he did a villain that was really a villain. He had no redeeming qualities. Normally, we love Tim's villains. They're usually the characters we associate with. The Headless Horsemen just cut off heads. There was no sense like, "Oh the poor guy, look at him stumbling around his house knocking everything over because he can't see anything while he's trying to make his cereal in the morning." [Laughs] He was a monster. When he killed that family and pulled up that little kid from under the planks, I was so proud of Tim [Laughs].
Baca lengkapnya di sini.
