Berikut ini kutipan dari press release resmi untuk score album Frankenweenie:
Walt Disney Records released the original motion picture soundtrack for Frankenweenie on Sept. 25, 2012. Danny Elfman composed the original score – his 15th collaboration with writer/director Tim Burton.
From the opening scene and the first cue on the soundtrack, Elfman's "Frankenweenie Disney Logo," it's clear that Frankenweenie is not your usual story about a boy and his dog. Several of the characters we are introduced to in the film, for example Victor, Elsa Van Helsing and Edgar "E" Gore were inspired by classic horror films. "Frankenweenie is very sweet but then there's this monster movie side of it that I really got to tap into my own roots as a life-long fan of that genre," said Elfman.
Elfman's score, like the story, starts out light and carefree, but then reflects the dark turn taken when Victor loses his beloved dog, and friend, Sparky. The depth and expressiveness of the track "Re-Animation" initially recalls both the ego and excitement of past movie attempts to animate those who have gone before, but then ends with the tender reunion of boy and dog. Elfman's score alternates between the dark elements of Burton's re-imagination of the Frankenstein mythos and the quirky adventures of a boy and his Frankenweenie.
"There's a theme for Victor and his relationship with his dog and then there's actually a theme for Sparky himself," Elfman described. "Sparky's theme is more playful, as dogs are. Victor's theme is a little sadder because it's more about how much he loves and misses Sparky. It is ultimately a story about a boy and his dog and there's almost nothing purer than that."
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Menyambut dirilisnya Frankenweenie tanggal 5 Oktober, Disney Publishing Worldwide dari Walt Disney Company merilis Frankenweenie: An Electrifying Book pada tanggal 24 September. Buku setebal 71 halaman ini berisi making-of dari filmnya antara lain original arts, production photos, musik, video dan wawancara dengan para filmmakers termasuk dengan Tim Burton. Buku digital ini bisa dibaca gratis melalui iTunes atau iBooks 2 di iPad. Berikut deskripsinya:
Go behind the scenes with Tim Burton's stop-motion animated film, "Frankenweenie" with this exclusive interactive book. Delve into the details of the concept, creation and execution of the film with beautiful photos, art, interviews, music, 3D model characters, and much more! Created with Apple's unique iBooks Author app, the book will allow the audience to immerse themselves in Tim Burton's process from sketch to screen.
Ada rencana bahwa bukunya akan di-update, waw. Bukunya gratis di sini.
Kraft-Engel Management mengumumkan dua proyek baru untuk Danny Elfman yaitu Promised Land dan Hitchcock. Hitchcock adalah film adaptasi dari buku Alfred Hitchcock and the Making of Psycho karya Stephen Rebello. Film ini dibintangi oleh banyak bint... oleh banyak aktor dan aktris terkenal antara lain Anthony Hopkins sebagai Alfred Hitchcock, Helen Mirren, Scarlett Johansson sebagai Janet Leigh, Jessica Biel, dan Ralph Maccio. Film yang disutradarai oleh Sacha Gervasi ini akan dirilis paling awal di Swedia tanggal 8 Februari 2013 (belum ada tanggal rilis untuk Amerika Utara).
Danny Elfman belum pernah bekerja sama dengan Sacha Gervasi sebelumnya. Sacha Gervasi ini baru satu kali membuat film yaitu Anvil! The Story Anvil, sebuah film dokumenter mengenai band heavy metal Anvil. Namun demikian film dokumenter ini mendapat banyak sekali penghargaan.
Seperti telah disebut di atas, film Hitchcock ini terutama akan bercerita mengenai pembuatan film Psycho. Bernard Herrmann yang membuat score film Psycho adalah salah satu composer referensi utama bagi Danny Elfman; Danny Elfman 'nyadar' score pada saat nonton The Day The Earth Stood Still yang score-nya dibuat oleh Bernard Herrmann. Bahkan untuk remake film Psycho (1998), Elfman dan Steve Bartek mengaransemen musik asli asli Psycho, plus musik orisinal. Seharusnya Elfman tidak ada masalah untuk membuat score film Hitchcock ini.
Urutan rilis film-film Danny Elfman menjadi sebagai berikut: Frankenweenie (25 September 2012), Silver Linings Playbook (21 November 2012), Oz: The Great and Powerful (8 Maret 2013), Promised Land (28 Desember 2012), Hitchcock (8 Februari 2013), dan Epic (17 Mei 2013).
Kraft-Engel Management mengumumkan dua proyek baru untuk Danny Elfman yaitu Promised Land dan Hitchcock. Promised Land adalah film terbaru Gus van Sant yang dibintangi oleh antara lain Matt Damon dan Frances McDormand. Film ini akan dirilis secara terbatas di Amerika pada tanggal 28 Desember 2012 agar bisa masuk dalam berbagai penghargaan film.
Film ini menjadi film keenam kerja sama Gus van Sant dengan Danny Elfman, sebelumnya mereka bekerja sama di To Die For (1995), Good Will Hunting (1997), Psycho (1998), Milk (2008), dan Restless (2011). Good Will Hunting dan Milk mendapatkan nominasi Academy Awards untuk best score. Untuk film Psycho, Danny Elfman bersama Steve Bartek kebayakan hanya mengaransemen musik asli karya Bernard Herrmann namun ada juga musik orisinal buatan Elfman berdasarkan score asli Psycho.
Urutan rilis film-film Danny Elfman menjadi sebagai berikut: Frankenweenie (25 September 2012), Silver Linings Playbook (21 November 2012), Oz: The Great and Powerful (8 Maret 2013), Promised Land (28 Desember 2012), Hitchcock (8 Februari 2013), dan Epic (17 Mei 2013).
American Youth Symphony akan mengadakan lagi konser bersama Danny Elfman pada tanggal 28 April 2013, berikut kutipannya:
After the tremendous success of the Project’s first year, Danny Elfman’s music returns! This project presents a unique opportunity to hear the famed composer’s brilliant music in concert.
Symposium – 4 pm
David Newman guest conductor
Jon Burlingame moderator
Danny Elfman composer
Concert – 7 pm
Alexander Treger conductor
David Newman guest conductor
Jon Burlingame host
PROKOFIEV Lieutenant Kije Suite
ELFMAN Program to include film excerpts and music from Alice in Wonderland and Big Fish
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Studio: The Weinstein Company, Mirage Enterprises
Sutradara: David O. Russell
Composer: Danny Elfman
Tanggal rilis film: 21 November 2012
Tanggal rilis album: ?
Label: ?
Minggu lalu beredar kabar bahwa Danny Elfman menjadi composer untuk film drama-komedi Silver Linings Playbook. Film ini diadaptasi dari novel The Silver Linings Playbook karya Matthew Quick. Sutradara film ini terakhir menyutradarai film tinju The Fighter yang banyak mendapatkan penghargaan, termasuk Best Supporting Actor dari Academy Awards untuk Christian Bale. Silver Linings Playbook dibintangi oleh antara lain Bradley Cooper, Jennifer Lawrence, Robert Deniro, Julia Stiles, dan Chris Tucker.
Menarik juga.. di awal karirnya, karena musiknya untuk Pee Wee's Big Adventure, Danny Elfman jadi banyak mengerjakan musik komedi seperti Back to School, Hot to Trot dan lain-lain. Ia pernah mengatakan bahwa dia 'clueless' jika diminta membuat score untuk genre romantic comedy. Sekarang ia kembali mengerjakan musik untuk film komedi, tepatnya drama-komedi yak.
Urutan rilis film-film Danny Elfman menjadi sebagai berikut: Frankenweenie (25 September 2012), Silver Linings Playbook (21 November 2012), Oz: The Great and Powerful (8 Maret 2013), dan Epic (17 Mei 2013).
Studio: Tim Burton Productions
Sutradara: Tim Burton
Composer: Danny Elfman
Tanggal rilis film: 5 Oktober 2012
Tanggal rilis album: 25 September 2012
Label: Walt Disney Records
Track list:
1. Frankenweenie Disney Logo
2. Main Titles
3. Mr. Burgermeister/Noses Meet
4. Game of Death
5. The Funeral
6. Electricity
7. Re-Animation
8. Sparky's Day Out
9. Dad's Talk
10. The Bride/Edgar Knows
11. Invisible Fish/Search for Sparky
12. A Premonition
13. The Speech
14. Mom's Discovery/Farewell
15. Getting Ready
16. Making Monsters
17. Pool Monsters Attack
18. Mad Monster Party
19. Final Confrontation
20. Happy Ending
21. Alternate Main Titles (bonus track)
22. Over the Fence (bonus track)
Studio: Tim Burton Productions
Sutradara: Tim Burton
Composer: Danny Elfman
Tanggal rilis film: 5 Oktober 2012
Tanggal rilis album: 25 September 2012
Label: Walt Disney Records
Track list:
“Strange Love” – Karen O
“Electric Heart (Stay Forever)” – Neon Trees
“Polartropic (You Don’t Understand Me)” – Mark Foster
“Almost There” – Passion Pit
“Pet Sematary” – Plain White T’s
“With My Hands – Kimbra
“Everybody’s Got a Secret” – AWOLNATION
“Immortal” – Kerli
“My Mechanical Friend” – Grace Potter featuring The Flaming Lips
“Lost Cause” – Imagine Dragons
“Underground” – Grouplove
“Building a Monster” – Skylar Grey
“Witchcraft” – Robert Smith
“Praise Be New Holland” – Winona Ryder
Ini adalah song album-nya yang berisi lagu-lagu dan tidak ada score track dari Danny Elfman. "Strange Love" adalah lagu untuk end credits. Baca beritanya di sini.
Tanggal 19 Juli yang lalu, selain Batman The Animated Series vol. 1, La-La Land Records juga merilis volume 2-nya, berikut kutipannya:
Literally years in the making, La-La Land Records and Warner Bros. proves the wait was worth it with this amazing 4-CD set of previously unreleased music from arguably the greatest animated television series of all time, BATMAN THE ANIMATED SERIES! Produced by MV Gerhard and mastered by James Nelson, this 2nd Volume 4-CD set takes you through a treasure trove of astounding orchestral scores; music that rivals any blockbuster feature film. Composers Shirley Walker, Harvey R. Cohen, Carlos Rodriguez, Lolita Ritmanis, Michael McCuistion, Carl Swander Johnson and others are musically represented here, as well as Danny Elfman's iconic theme. The 36 page CD booklet features exclusive, in-depth liner notes from writer John Takis. Limited Edition of 3500 Units.
Berikut ini komentar dari produsernya:
"A Piece of Film Music History"
That's something I wrote a few months back while I was finishing up our 4 disc set for BTAS Vol 2. While sifting through Shirley's personal collection of music we came across something marked "Danny's Batman Theme". At first I thought it was going to be a demo for the BTAS theme, then I listened to it. Clocking in at 2 minutes and change was a piano demo for the theme from Danny Elfman's 1989 score...filled with some mistakes and not quite complete. I just about wet my pants. The score that got me to fall in love with film music -- here in my hands -- is the initial demo cut for the producer's to listen to.. .to say Yeah or Nay on the composer and his now iconic theme. It's the score that launched Elfman's career into the stratosphere and help establish that comic book sound for years to come.
I know some of you out there, you Grumpy Gus', will poo-poo all over this discovery and my proclaimation, but I don't care. This IS a part of film music history and I am very happy to share it with those who will appreciate it as much as I did. For those of you who picked up the BTAS Vol 2 set -- it's an easter egg on disc 1 at the end.
Enjoy!
MV
Lihat lengkapnya, termasuk track list-nya di sini.
Tanggal 19 Juli yang lalu La-La Land Records merilis ulang Batman The Animated Series: Vol. 1, berikut kutipannya:
Back by popular demand, La-La Land has re-issued its 2008 sold-out title for the legions of BTAS fans who missed out on this dynamite release's initial debut. This "second edition" re-issue is virtually identical to the 2008 version, except the bonus tracks "Gotham City Overture" and "Music of the Bat" have been removed to preserve the integrity of the initial release.
The thrilling orchestral music from the acclaimed Warner Bros. / D.C. Comics animated series BATMAN: THE ANIMATED SERIES is unleashed again in this spellbinding 2CD Limited Edition pressing. Composer Shirley Walker (WILLARD, MEMOIRS OF AN INVISIBLE MAN, FINAL DESTINATION 1-3, THE FLASH), along with Lolita Ritmanis and Michael McCuistion (BATMAN BEYOND, TEEN TITANS), and Danny Elfman's iconic "Batman Theme", revolutionized animated TV music with robust, full-blooded music that propelled BATMAN: THE ANIMATED SERIES to lofty critical and artistic heights, enriching the The Dark Knight's legacy. CD booklet features in-depth liners, including comments from writer/producer Paul Dini and composers Lolita Ritmanis, Michael McCuistion and Danny Elfman. Limited Edition of 5000 Units.
Baca lengkapnya termasuk track list-nya di sini.
Film Music Magazine merekomendasi soundtrack untuk bulan Juni 2012, termasuk Men in Black 3, berikut kutipannya:
Who ya gonna call when it’s time to bust some illegal aliens? The answer of course for team Tommy and Will is Danny Elfman, who dons his dark sunglasses and suit to hit the trail with the Men in Black. That proves to be a real charm the third time out for this time-travelling entry that gives a huge, rejuvenating boost to the franchise after an unholy second film (not that Elfman’s music has ever been worse for the wear). Time travel’s the McGuffin that brings Agent J and K back to the 60’s to stop another alien plot to blast the Earth, a period that Elfman acknowledges with an acid rock electric guitar, while saluting the 1950’s retro bug-eyed monster premise with humorous use of the ooo-wee-ooo Theremin. But mostly, this score doesn’t fix what was never broken, relying once again on a great main theme to power through its frenetic action, along with the bongos of Will Smith’s unaging urban hipness. Elfman is at his best when handling satirical genre pics like this, “Hellboy 2” and “Dark Shadows,” bringing on the glee of a kid playing cowboy in a room full on creature suits, an energy which reaches new, delirious heights here while never letting us forget the planet’s in truly dramatic peril. At once bewaring its alien rogues gallery while luxuriating in the choral magic of the nicer E.T.’s, Elfman also manages some truly touching flute and guitar emotion in the ties that bind J and K through the decades, a nice shot of character feeling that makes “MIB3” human after all.
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Score produced by Danny Elfman and Steve Bartek
Orchestrations by Steve Bartek, Edgardo Simone and Dave Slonaker
Orchestra conducted by Pete Anthony
Score recorded and mixed by Dennis Sands and Shawn Murphy
Additional arrangements by Edward Shearmur and T.J. Lindgren
Score conforming by Deborah Lurie
Score recorded at Sony Picture Studios, Streisand Scoring Stage and Studio Della Morte
Score mixed at Todd AO West
Score published by Colpix Music, Inc. (BMI), administered by Sony/ATV Music Publishing LLC
Berikut ini kutipan lengkap dari sutradara Barry Sonnenfeld:
The first time I met Danny I was intimidated. I had to walk through a spooky dark forest to get to his house. I was meeting one of my favorite composers of film scores, and I was about to hear the first cues he had written for Men in Black. (I won't mention his stuffed cat).
Danny's initial music was everything I wasn't looking for. It was light, breezy and funny. After taking a long breath, I told him what I hoped he'd do for the film: "Make MIB more manly. More emotional. Don't help me with the comedy. Please."
Danny got it instantly. His score for Men in Black was everything I hoped it would be. He made MIB feel big and muscular. His score for MIB3 is even more. Danny has creatively taken the familiar and made it new and unique. He uses the perfect themes from the first movie, and makes them new, hip, energetic and emotional.
In addition to writing a fantastic score, Danny is just great to work with. Smart, easy, friendly, funny, relaxed, surprisingly ego-less, and brilliant.
Thank you, Danny.
Berikut kutipan dari situs Runmovies:
Generally I don’t deal with temp scores. I don’t even listen to them. PLANET OF THE APES and RED DRAGON were exceptions where I did want to listen to the temp because I wanted to know what to avoid - both of those having previous movies and scores that went with them. One is a remake and one is a prequel to a really well known and very well done movie. I wanted to be aware of what Howard Shore had done in SILENCE OF THE LAMBS, and then I thought, “All right, that’s what it is. I neither want to put all my energy into avoiding any nuance that’s similar, but also I want to make sure that I’m not directly falling into something that is the same.” If you put all your energy into avoiding something, then it becomes an obsessive thing that will eventually dictate the tone of the score, and I didn’t want to do that. Howard and I happen to have a lot of tonalities that are very similar. In PLANET OF THE APES, though, I heard the Jerry Goldsmith score and said, “What I’m doing is so radically different, I don’t even have to think about it. Having heard it now, I won’t even think about it again.” With RED DRAGON, it was different because tonally the movies are very similar, so it was something I had to be aware of. I knew already that Howard was one of the few composers with whom I’m going to have a certain amount of overlapping even on films that have nothing to do with each other. When SILENCE OF THE LAMBS came out, I remember thinking, “Wow, that was very close to BATMAN!” The main theme of BATMAN was working exactly the same scale as SILENCE OF THE LAMBS. I remember being relieved that I hadn’t been exposed to it because some people might have said, “Oh, one’s copying the other.” I knew he wasn’t referring to me in any way, but I’ve been aware since then that we tend to use the same kind of minor scale repeating motifs. Even though ultimately his style is much different than mine, there is an area, especially in a kind of modal, melodic, scale dynamic, that is similar, and I needed to be aware of that.
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Berikut kutipan dari situs Film Music Media:
Danny Elfman is one of the greatest film composer's working today and he is indeed a very thematic composer. His scores usually are headlined by strong attention grabbing themes, and that is especially true for Men In Black. The first Men In Black was a wonderful film with a signature Elfman score. However, like most studio-pushed sequels the experience gets stretched way too thin. For this third outing Elfman's music still has energy, but it has definitely lost some steam.
I don't want to say that this score feels phoned in, but it does leave much to be desired. It doesn't have the wonder, mischief and mysterious flavors of the original or even the second one. I can't say I didn't enjoy hearing that sonic world again, but it would have been a lot more interesting if Elfman built more out of it than just pulled over the familiar.
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Berikut kutipan dari situs Examiner.com:
While the new score yields remnants of the traditional “MiB” theme, as well as the standard Elfman-isms – dark, mirthful rhythmic mayhem spawned by “Beetlejuice” and “Batman” – he still finds a way to think outside the box and create a near-new sound palette for “Men In Black 3.” He incorporates a spatial romantic sensation in the string work, which vaguely harkens “Mars Attacks.” And the score is much more lyrical than any of his non-musical scores, and that conceptual style of music composition reads almost like a cross between Elfman’s 2006 solo album “Serenada Schizophrana” and the 1994 album “Boingo.”
There is a distinct band-like atmosphere throughout “Men In Black 3,” which is primarily the result of a drum kit, the predominant expressiveness of percussion, and the atmospherically jolting use of electric guitar. He also makes solid use of Carl Stalling-inspired brass arrangements that gives the score an edge of cartoon-iness that warps your sense of reality – those moments of pure, psycho-imaginative Elfman that keep you on the edge of your seat. The “Men In Black 3” score seems to bear an underlying sense of rejuvenation that really hasn’t bled to the surface since 2008’s “Hellboy II: The Golden Army.”
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Classic FM mewawancarai Danny Elfman, berikut kutipannya:
“I fell into writing; it wasn’t my choice,” he says. “When I grew up I didn’t play any instruments and I took no music lessons. I wanted to be involved with film but composing was the last side of it that I imagined doing. I imagined myself being an editor, maybe special effects.”
He adds: “If you’d have asked me when I was 17 or 18-years-old what I wanted to me I may have said cinematographer or maybe a director but something in film. But I never would have said music; that was quite accidental.”
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Situs Examiner me-review Men in Black 3, berikut kutipannya:
Where Men In Black 3 succeeds most, believe it or not, are actually the rock-influenced moments; the sequences anchored by divebombing electric guitar and up-tempo drumming which-although only appearing for brief moments at a time-are easily the most fresh and attention-grabbing moments of the score.
Elsewhere, most of Men In Black 3 (see: "Griffin Steps Up" and "The Prize") is par-for-the-course, classic Elfman; an expected exercise in excellence from a man who, at this point, can almost always be trusted to deliver the goods.
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Situs Tracksounds me-review Dark Shadows, berikut kutipannya:
DARK SHADOWS can only be wholeheartedly recommended to those with an intense love for all things ELFMAN and BURTON. It certainly has its moments, but is ultimately evidence that the eternal trio is one in need of a shake-up.
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Situs Film Tracks me-review Men in Black 3, berikut kutipannya:
Buy it... if you still have a soft spot for Danny Elfman's full range of identities for this franchise, each of them extended with commendable skill in this surprisingly orchestra-heavy sequel score.
Avoid it... if you demand that new thematic territory be explored or that the composer rely upon his prior retro-styling for this somewhat conventional journey to the past.
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