Danny Elfman badmouths Sam Raimi!
09-13-05, 01:54 PM
#51
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• jaeufraser •
There is no right way to score a film, it depends on the needs of hte film and director. But to pretend that strong thematic film scoring is the only way of course will annoy people, because music and film scoring has sooooo much more to it then just that.
There is no right way to score a film, it depends on the needs of hte film and director. But to pretend that strong thematic film scoring is the only way of course will annoy people, because music and film scoring has sooooo much more to it then just that.
das
09-13-05, 01:59 PM
#52
"Sorry, his scores did not do much for me."
Exactly my point. They shouldn't do anything for you. It is part of the film.
I am not saying that themes are not part of the score. Themes are strong melodies that are usually composed before the scoring is done. Scoring is an extremely fast process of synchronizing the events on the screen to orchestrations. Sure, you can have themes during this. It is often economical to reuse themes, but a vast majority of the time a score is playing the theme is deliberately convoluted. Often switching keys so you cannot grasp the melody. The composer wants to evoke a emotional response without stealing attention from the screen. A majority of scoring should go completely unoticed.
There will always be those one or two scenes where the main theme will swell to match action on the screen. This was more noticable in the late 30's and 40's with films like Gone With The Wind. We all know "Tara's Theme", but I for the life of me cannot remember the remaining 100+ minutes of scoring. That doesn't make it BAD, it means the composer did exactly what was expected.
Exactly my point. They shouldn't do anything for you. It is part of the film.
I am not saying that themes are not part of the score. Themes are strong melodies that are usually composed before the scoring is done. Scoring is an extremely fast process of synchronizing the events on the screen to orchestrations. Sure, you can have themes during this. It is often economical to reuse themes, but a vast majority of the time a score is playing the theme is deliberately convoluted. Often switching keys so you cannot grasp the melody. The composer wants to evoke a emotional response without stealing attention from the screen. A majority of scoring should go completely unoticed.
There will always be those one or two scenes where the main theme will swell to match action on the screen. This was more noticable in the late 30's and 40's with films like Gone With The Wind. We all know "Tara's Theme", but I for the life of me cannot remember the remaining 100+ minutes of scoring. That doesn't make it BAD, it means the composer did exactly what was expected.
09-13-05, 02:38 PM
#53
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Agreed. BUT...it seems like in today's day and age, we're lucky to get ONE theme as opposed to the past where there were several strokes of genius in all my favorite movies.
And to be honest, i haven't seen most of the movies Bernard scored. Sorry.
And to be honest, i haven't seen most of the movies Bernard scored. Sorry.
09-13-05, 02:38 PM
#54
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Sadly, with the exception of maybe your occasional Tarantino film, I think the age of memorable film scores died out with the 80s. You just don't hear music these days where you can instantly say, "Oh that's the theme from ________ !" I think it's very unfortunate, and the reason why my soundtrack collection hasn't really grown in the last 15 years.
09-13-05, 02:41 PM
#55
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• rennervision •
You just don't hear music these days where you can instantly say, "Oh that's the theme from ________ !"
You just don't hear music these days where you can instantly say, "Oh that's the theme from ________ !"
das
09-13-05, 02:42 PM
#56
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Originally Posted by rennervision
Sadly, with the exception of maybe your occasional Tarantino film, I think the age of memorable film scores died out with the 80s. You just don't hear music these days where you can instantly say, "Oh that's the theme from ________ !" I think it's very unfortunate, and the reason why my soundtrack collection hasn't really grown in the last 15 years.
09-13-05, 03:07 PM
#57
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Film music is easily the most criticized aspect of any film. This thread, and the various forums you'll find online dedicated to it is proof of that.
I enjoy 'humming' along to film scores, regardless of how memorable the themes are. The majority of scores' best moments (at least to me) are not ones that feature the main themes prominently.
I enjoy 'humming' along to film scores, regardless of how memorable the themes are. The majority of scores' best moments (at least to me) are not ones that feature the main themes prominently.
09-13-05, 03:47 PM
#58
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A good film score is one that adds emotional resonance to the events on screen. A good soundtrack is one that has catchy themes that allows the listener to relive his favorite moments from a film. All good soundtracks come from good film scores, but not all good film scores make for good soundtracks. That's all I'm saying.
09-13-05, 04:05 PM
#59
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I really don't care much about score. I know it's a crucial part of the movie experience. But I don't actively notice it or pay attention to it.
I can't recall really ever thing "Wow that was a great score" or "geez that score sucked" after seeing a movie.
I can't recall really ever thing "Wow that was a great score" or "geez that score sucked" after seeing a movie.
09-13-05, 05:15 PM
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Though modern scores are not as epic as those of days past, my two favorites are recent, Fight Club + Requiem for a Dream. Those work amazingly in the film, as well as listening to in daily life.
On topic, that sucks. I'm a fan of both of them, but it is kind of inconsequential. The Spiderman scores are good, but not Batman good.
On topic, that sucks. I'm a fan of both of them, but it is kind of inconsequential. The Spiderman scores are good, but not Batman good.
Last edited by j_sutton; 09-13-05 at 05:18 PM.
09-13-05, 11:50 PM
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A fella who penned the badass "Sledge Hammer!" theme song is always alright in my book!
Also love some of Elfman's lesser known scores, like "A Simple Plan" (non-Spidey Raimi) and "Midnight Run."
Hey wait, what was this thread about again ? ...
Also love some of Elfman's lesser known scores, like "A Simple Plan" (non-Spidey Raimi) and "Midnight Run."
Hey wait, what was this thread about again ? ...
Last edited by lawyer goodwill; 09-14-05 at 12:29 AM.
09-14-05, 12:06 AM
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I can honestly see how both guys might have finally gotten on each others nerves. Elfman might have seen Raimi getting way to wrapped up in a movie that probably costs more than all of his other movies put together. I mean the pressure on Raimi to deliver had to unbelievable. If that is what happened, hopefully Raimi will snap out of it or will have to do another low budget Evil Dead movie to ease his pain.
And I could see Raimi getting upset with Elfman because, as many have said, Elfman's music as of late has not been the most original that he's come up with. In defence of Elfman, its pretty hard to keep coming up with weird, crazy, and original music after the amount of movies he's done.
Even though these two have not done a ton of movies together, 4 if my math is right, they do seem like a pretty good match, and i hope that they can work this out. Hopefully by spiderman 3.
And I could see Raimi getting upset with Elfman because, as many have said, Elfman's music as of late has not been the most original that he's come up with. In defence of Elfman, its pretty hard to keep coming up with weird, crazy, and original music after the amount of movies he's done.
Even though these two have not done a ton of movies together, 4 if my math is right, they do seem like a pretty good match, and i hope that they can work this out. Hopefully by spiderman 3.
09-25-05, 11:20 PM
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Is there any actual proof of this whole thing taking place? Was this a quote in a real interview, or just something the op personally overheard? I'm interested in hearing EXACTLY where the information came from... a junket of a junket?
I'm not trying to TC - just looking for a bit more info.
I'm not trying to TC - just looking for a bit more info.
09-26-05, 02:12 PM
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Originally Posted by riley_dude
If he has such a hard time working with Raimi during Spiderman 2 then why did he go back for more on Wonka and Corpse Bride???
09-26-05, 04:26 PM
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Originally Posted by devilshalo
Originally Posted by riley_dude
If he has such a hard time working with Raimi during Spiderman 2 then why did he go back for more on Wonka and Corpse Bride???
09-26-05, 04:44 PM
#72
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Originally Posted by riley_dude
If he has such a hard time working with Raimi during Spiderman 2 then why did he go back for more on Wonka and Corpse Bride???
Isn't that the ultimate question?
09-26-05, 05:08 PM
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Originally Posted by scott shelton
Isn't that the ultimate question?
09-26-05, 08:55 PM
#74
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Originally Posted by devilshalo
Because they were directed by Burton?
I really like Elfman's stuff. The goofy, cartoony stuff is great, but so is his other stuff, like "A Simple Plan". ASP is one of my favorite scores of his and you'd never guess it was an Elfman score.
10-13-05, 03:02 PM
#75
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There's more where that came from: http://www.chud.com/index.php?type=news&id=4718