SFT

SFT

In my opinion, I don't think Elfman could compose anything "far better" than Marco Beltrami in this case. After all, Beltrami is the composer who scored the original (read: created the original sound) of the movie. Why not have him score the third film?

Anyway, back to the discussion. I personally feel Elfman's score would be just like his music for The Frighteners. This was a score I couldn't even listen to all the way through. If you asked me, Elfman doesn't do very well when it comes to straight horror. Elfman is most brilliant when it comes to fantasy, like Batman or Edward Scissorhands.

Go Beltrami!

I can say Beltrami's new Scream score will be nothing short of perfect for two reasons:

1) He scored the original Scream movies

2) He wrote the music for Mimic, a truly frightening film score

As for Elfman, who knows? We can't say he can do anything far better than Beltrami until he actually does something far better than Beltrami and in Beltrami's own territory!

SFT

SFT

the best thing about Scream 2 was Broken Arrow.
let's see if there is a carryover.
won't be surprised to see hans there ala pacific heights.

Dan Brecher, what did you mean by "Elfman's contribution to the Scream 2 score was darn good",? Did Elfman compose some of the music for this film?

Also, how did they get away with using Zimmer's Broken Arrow cue? Are the two movies produced by the same person or something?

Danny Elfman composed "Cassandra Aria". It is the music played in the theatre-scene.

Though there was nary a care, I explained to my literature class the genius behind using a beautiful music cue originally employed to symbolize a villain in BROKEN ARROW, and turning it around to use it as heroic cue in SCREAM 2.

At the time, my literature class was reading "Paradise Lost", and this was additionally stimulated by the comment Hans Zimmer made in the liner notes of BROKEN ARROW about Satan being the most beautiful angel, and having the most beautiful music.

There we go again, saying that Elfmanīs scores arent listenable...
They work for the movie right? So what are you complaining about? I really donīt think Elfman cares wheter or not you like listening to his scores, heīs just trying to do his best for the movie. That doesīnt allways result in a "listenable" score.

To Yumbo: Been wondering when you'd come by here, welcome!

Now to the topic at hand. Simply put- Marco Beltrami is a good composer, handled Scream extremely well- but I really wish he would attach himself to other assignments to get the full scope of what he can do. Really, as the nature of the scoring industry works, only time will tell us the direction he'll go.

As to Elfman: interestingly enough, his music for Sleepy Hollow is included in the preview (I'm guessing at this, please correct me if you know accurately what music it is)- and this is about the most exciting stuff to come out of Elfman to my ears since Batman (comparing by dark archetypes). Bottom line- until the official word is out for Scream 3, there are always other things to look forward to. I will be looking forward to what he does for Sleepy Hollow, but with reservation. Let's just wait and see.

--Crono/Kyp
Writer/Director/Producer

Oh....that helped...

Just for the record I disagree totally with you...Elfmanīs scores fits the movies better than anyones. If you canīt see that, then you donīt know the first thing about the art of scoring movies!

SFT

PS- If I seem rude, then please forgive me

PPS - Some of the music used in the SH trailer is from Darkman and Beetlejuice...but there is also some of it I havent heard before.

SFT

NP: Predator, Alan Silvestri (complete score)

If you dismiss everything I say by saying: "That is just your opinion" then why are we even discussing this?
It seems to me, that if no ones opinion is valid, this board isīnt really nessecary.
As to your other point: Whether or not a movie like "The Jackal" needs a score with gets into the mind of the caracters, is debatable. Personally, I would have like a score wich was a little less "overdone", if you know what I mean. Regarding Dick Tracy, this was not a movie wich needed a score as for A Simple Plan (the same thing you say about The Jackal, althoug I donīt agree in full). It needed a grand, oldfashioned kind of score. And Elfman provided it.

SFT

PS: I wasīnt bashing Burwell. Just that particular score.

NP: Predator, Alan Silvestr (Superb score!!!)

And whenever youīre talking about Elfman youīre only pointing out your particular opinion that many,like me,donīīt share.
So, by dismissing everybody elseīs opinions about filmmusic,especially Elfmanīs music,you are only doing harm to the cause you fight for. Can you not simply accept the fact that other people might like different kind of music from you?

I haveīnt been dismissing anyones opinion. Iīm simply telling you mine. It seems to me, that no matter what I say, you keep comming back with that statment and itīs getting somewhat annoying. Please do not twist and turn everything I say around like that.
Ofcourse "The Jackal" needed a driving score, but not in the way Burwell created it. He should have found another approache then just "Hardboiled ex IRA-agent vs. crazy assasine with lots of big guns", instead he should have concentratet around the personal vendetta between the two caracters.
Once again, as you so often have pointed out, this is my own opinion. Please note that by stating my own opinion I have not put anyone elses down, or in any way prevented anyone from stating theirs.

SFT