quote:

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Originally posted by Pete M:
btw, Had Danna actually written any music for the film yet, or had it not got that far?

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My understanding was that nothing had been recorded.

How many ways can be manipulate Hans Zimmer's name or berate Danny Elfman?

I'm hesitant to even mention Horner's name any more without a volatile tangent spinning off.

I will say that I am disappointed that Danna is no longer scoring the film, but I am confident that Elfman will provide a serviceable score.

It is sad that the most constructive comments that come from many folks around here are riffs against composers...composers who, no matter what you feel about them, are all talented in their own right.

quote:

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Originally posted by dgoldwas:

My understanding was that nothing had been recorded.

Dan

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Yeah, but had he actually written anything yet? Maybe synth demos or whatever? Not that it really matter, I'm just curious. Was he dropped after they heard something he'd written & didn't like it, or was there another reason for him leaving.

quote:

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Originally posted by Widescreen:
It's arguable, but this really shows a lack of trust from the studio to Ang Lee. But then, it's said many business decisions in Hollywood are based on insecurity and fear.

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Are we sure that it's a studio exec decision?

quote:

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Originally posted by rkeaveney:
They didn't dig Danna's demos.
Ryan

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Or maybe it's because he's Canadian and this is backlash for Canada's position on Iraq¹.

______________________________________________________
¹ Dinko gets black eye and thumbs down for bringing politics in the discussion.

PATRICK DOYLE!

Alas, they go with Elfman. But then it could be worse. It could turn out like Kamen's X-men score.

I had read that the decision was the studio's, but if I'm wrong, hey, it wouldn't be the first time. I like the fact that Elfman's doing it. As the story seems to go into the vein of a greek tragedy, I certainly hope the music isn't altogether depressing, no matter who scores it. I was looking foward to giving Danna a genuine listen, I haven't heard much of his work, so I can't say he would've been bad or good.

But I can see how a studio exec would look at Elfman's work and put him in the equation just because he's written so many scores that happen to belong to comic book characters or pop culture archetypes. As a studio exec decision, it would be choice that bases itself in unoriginal decision making (which will throw Hollywood upside down if they don't stop dragging that business model through the mud).

It's quite a good trailer, but why 5?

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Originally posted by Camillu:
It's quite a good trailer, but why 5?

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Well, technically it's only #1 or #2 (depending on your perspective). The first glimpse that came out was technically a "teaser," then in between that and the one you mentioned there have been a couple of "TV spots" and an "International Trailer." So, this is technically the first "Domestic Trailer," and hence the second trailer (but technically the first for U.S. theaters).

1 Main Titles
2 Prologue
3 Betty's Dream
4 Bruce's Memories
5 Captured
6 Dad's Visit
7 Hulk Out
8 Father Knows Best
9 …Making Me Angry
10 Gentle Giant
11 Hounds of Hell
12 The Truth Revealed
13 Hulk's Freedom
14 A Man Again
15 The Lake Battle
16 The Aftermath
17 The Phone Call
18 End Credits
19 Set Me Free - Dave Kushner (Guitar) Duff McKagan (Bass) Slash (Guitar) Matt Sorum (Vocalist) Scott Weiland (Vocalist)
http://www.iclassics.com/iclassics/album.jsp?selectionNum=2894750982

Looking forward to the track samples, possibly next week.

Dylan

quote:

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Originally posted by Splash:
[b]Dinko said - "Pffft. Try it this way.
"That's ironic, considering Elfman's most popular super hero score (BATMAN) was a shameless (and inferior) rip-off of Herrmann's magnificent Journey to the Center of the Earth."

Hmmfff....then try running this up the flagpole......

"That's ironic, considering one of Herrmann's most celebrated scores (Journey to the Center of the Earth) was a shameless (and inferior) pastiche of various elements of Wagner's masterful 'Siegfried'."

And at least there's a gap of thirty years between Herrmann's 'Journey' and Elfman's 'Batman' - Goldsmith waited just a few years before cobbling together his inferior Batmanesque homage. The effect of that was that when many cinemagoers heard Goldsmith's 'Shadow' theme, their first reaction was, "It's Batman!". Furthermore, Goldsmith's theme really is a pale shadow of Elfman's wonderful work on Batman. So I see Elfman's Batman score as being a superb and influential piece of film music partly inspired by other pieces of music and film scores, including Herrmann's 'Journey'. Elfman added his own inspiration to the influences of other composers when writing Batman.......Goldsmith merely regurgitated an anaemic and lacklustre version Elfman's ideas.

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Hmm, what a silly thing to say.

Goldsmith's theme is a note-for-note copy of Franz Waxman's "Prince Valiant". It bares little or not resemblance to "Batman" and I don't know who these hordes of people were who thought it did.

Justin now goes off in the nobody-cares-but-you tangent:

quote:

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Originally posted by justin boggan:
I have [b]NO intension of seeing this movie, so unless those sound clips are really something else, I will not be buying the release.

Justin now goes off in the nobody-cares-but-you tangent:

What if Scott Gilman had scored it?[/B]

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The trailer makes the film look pretty bad. Admission prices have dropped, in Ontario, due to SARS, so maybe... if I feel the need for a timeout. The only attraction will be that it is an Ang Lee film. However, I made a similar assumption with John Woo and WINDTALKERS, and regretted it. Fromage. Fromage. Fromage.

Johnny Depp and Geoffry [?] Rush, in PIRATES, may be the highlight of the summer. And that will be because of its camp value and mixing of genres.

I was looking forward to Alan Silvestri's score, on this one, after MUMMY RETURNS, but Zimmer and Badelt will likely deliver something appealing. I have MUPPET'S TREASURE ISLAND. Do enjoy the orchestal writing in the score, and the silliness of the songs. Great fun! Must appeal to my inner child. <g> BOOM SHAKALAKA!!

Jz

Jeff

He also got an advance of the CD which he gave me. I'm most of the way through it and have to say it's nothing you haven't already heard from Danny Elfman. The percussive elements are very similar to what he's been doing on "Planet of the Apes," etc. The softer moments are nice but nothing terribly moving like "Black Beauty" or "Sommersby." And for some reason he's got Natacha Atlas doing her Middle Eastern type vocalizing. Why there's this element to the score is beyond me as this film has NOTHING to do with that part of the world.

I had my fingers crossed about Elfman's Hulk. I'll wait and see what I think of the Hulk score before I say anything more (the samples on the website should be up in a few days), but I had feared Elfman would be on autopilot this time. He's an absolutely marvelous composer, but he's burned out on superhero/action/sci-fi/thriller...time for something different.
"Big Fish" is a wonderful project for Elfman, the best project that's landed his way in years. I'm immensely excited about the score and the film.

Dylan