"Taken" appears to run about 45 minutes.

"Elf" has the back cover art up, but I'm not willing to strain my eyes to see what exactly the running time is and they haven't listed the tracks in the synopsis of the film/CD.

Also, as you all are probably aware, art/tracks are up for "Runaway Jury," "Beyond Borders," and the very lovely score to "Sylvia."

1. Papa Elf (1:35)
2. Main Title (2:59)
3. Buddy's Journey (2:38)
4. A Stroll With Buddy (1:32)
5. Christmas Medley (2:23)
6. Weird Wonderland (2:34)
7. The Frozen Battlefield (1:25)
8. Buddy's Theme (0:58)
9. Santa's in Trouble (2:06)
10. A Walk in the Park (1:01)
11. Attack of the Little People (1:15)
12. Central Park Rangers (2:54)
13. Working With Dad (0:36)
14. A Snowman's Advice (1:47)
15. Showdown in the Park (3:31)
16. Buddy and Santa's Flight (1:25)
17. Spaghetti and Syrup (2:36)

Looks about 33:15. Not very long, but bear this in mind: a soundtrack album is coming from New Line Records.

quote:

---

Originally posted by SBD:
Insignificant footnote: There was a special issue of Entertainment Weekly which featured a bit about director Jon Favreau looking for a composer for "Elf". I wrote it, suggesting Bruce Broughton, Amotz Plessner and Shirley Walker.

---

And who the hell is Amotz Plessner?

Personally I'm happy with John Debney scoring the movie. If it's CATS & DOGS goes Christmas, I'm gonna be pleased.

BTW, Amotz Plessner is, IMHO, a criminally underrated composer who has done terrific scores for marginally deserving films such as ADDAMS FAMILY REUNION, DEAL OF A LIFETIME and DIGIMON: THE MOVIE. I figured that a big-studio film like this would get him some much-needed exposure.

And believe me, neither Broughton or Shirley Walker are "starving" for anything.

Varese has shifted some of the release dates on the upcoming CDs. Looks like most of the previously announced November 11th release have been pushed back to November 18th.

--Brian

1. Life Story* (0:18)
2. What's Up? (1:24)
3. Another Take (0:48)
4. Dead Duck Walking (3:13)
5. Out of the Bag (3:42)
6. Blue Monkey (0:54)
7. In Style (1:09)
8. The Bad Guys (2:57)
9. Car Trouble (3:45)
10. Thin Air (1:24)
11. Area 52 (1:27)
12. Hot Pursuit (2:26)
13. We've Got Company (1:50)
14. I'll Take That (1:19)
15. Paris Street (1:21)
16. Free Fall (1:15)
17. Tasmanian Devil (1:10)
18. Jungle Scene (1:40)
19. Pressed Duck (3:22)
20. Re-Assembled (0:50)
21. Merry-Go-Round Broke Down** (0:16)

* - by Carl Stalling
** - by Cliff Friend and Dave Franklin

It runs 35:30. Sounds interesting.

quote:

---

Originally posted by SBD:
Also, check out this credit: "Special Thanks to John Debney". Curiouser and curiouser...

---

quote:

---

Originally posted by Dinko:

Goldsmith must have taken Mickey Mousing lessons from Debney. Or more probably, Debney provided additional music.

---

Or conducted some of the music...

quote:

---

Originally posted by Southall:
Hmm, Goldsmith taking scoring tips from John Debney. Also, Julianne Moore has reportedly started taking acting tips from Pamela Anderson.

Debney was at the scoring sessions but did not conduct. Mark McKenzie conducted many of the "rehearsal" takes and Goldsmith conducted the recorded takes. I wonder whether he did write some extra music or something.

---

I'd be surprised in Debney wrote some extra cues. Not saying he didn't, it just that with McKenzie around why wouldn't McKenzie write some additional material instead of Debney? Ok, he could have been busy orchestrating and such... I'm just curious why Debney was called.

-Erik-

According to a reliable source who was AT the sessions - and is not allowed to post here - Debney wrote 16 minutes of score for the film, and conducted those cues. McKenzie conducted many rehearsal takes, but ALSO conducted a few of the recorded takes.

Best regards,

quote:

---

Originally posted by Joseph W. Bat:
FYI,

According to a reliable source who was AT the sessions - and is not allowed to post here - Debney wrote 16 minutes of score for the film, and conducted those cues. McKenzie conducted many rehearsal takes, but ALSO conducted a few of the recorded takes.

Best regards,

Joe

---

Poor, poor Goldwasser. How people manage to get banned on ANY forum is beyond me.

Mike

quote:

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Originally posted by moviescore:
I aksed John Debney myself yesterday. He said that he was not involved in the project at all, but he "appreciated the note".

mikael

---

Hmm. Maybe Dan's spreading bad information again. Thanks Mikael...I must say, this is a Goldsmith score I'm really looking forward to, and, with no offense to Debney, I would like this score to be all Goldsmith, all the time.

Mike

quote:

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Originally posted by rkeaveney:
If John Debney says he had nothing to do with it, that has to be good enough for people. But I also had nothing to do with the score, so where's MY thanks!?!?

Ryan

---

Thanks, Ryan, for not writing a single note of this score!

Mike

mikael<HR size=1></BLOCKQUOTE>

Hmm. Maybe Dan's spreading bad information again. Thanks Mikael...I must say, this is a Goldsmith score I'm really looking forward to, and, with no offense to Debney, I would like this score to be all Goldsmith, all the time.

Mike

[/B]<HR size=1></BLOCKQUOTE>

Mike,

What other "bad" info has Dan supposedly spread?

The person who said they spoke to Debney, can you please give more details about that conversation?

Best regards,

Joe

My god, just accept that Debney was there...we flm score fans we don't need to know EVERY thing about a score that was recorded.

::sigh::

As for the moviewave account of the scoring, this is the most accurate report I have seen as of yet, however this following line makes wonder if people are just too darn scared to admit or accept the real truth.

"Sadly, time problems prevented him from writing the whole score"

From a person who closely works with Joe Dante, Jerry Goldsmith et al (because he is one of the "et al"): Time has nothing to do with it. Jerry's health problems are the concern.

As for the specifics of these "problems," I won't pretend to be certain (I have not asked about them), but would guess with certain hope that the only serious problem at the moment might be the stress-inducing rigor of scoring major studio films according to studio timeline (no pun intended). Such rigor isn't for 75-year-olds, and shouldn't be.

My advice? Quit complaining about how some Joe is not "allowed" to post here and concern yourselves with hoping the Maestro is doing as well as can be. In other words, find a new perspective, find what's important.

Fine. We won't go there. Then perhaps your members shouldn't bring such things up, if "we're not going there".

On the issue of Taken, such a shame, only 45 minutes. And the promo of the series consists of four full discs worth of music. Such a shame.

Best regards,

But Looney Tunes is such a money maker. Why wouldn't they want to pay Debney and credit him?
I understand Goldsmith is old and doesn't always have the time and energy he once did. So if in fact, and I leave the Debney ghostwriting thing open, he did write some score, why not pay him and give him credit?
Not the first time Debney has ghostwritten.
Unreleated note: saw the ST: TNG episode "Pegasus" in which he provided a rather nice score. Maybe he should do some Enterprise.

Joseph W. Bat, FOUR? You're joking right?
And again, feel free to e-mail me if you got any Shirley Walker "Batman: The Animated Series" scores.
justinboggan@hotmail.com

SBD, I'll give Plessner a chance if any of those movies ever come on.

rayn, Shirly may not be starving for work, but it doesn't mean she shouldn't turn down oppritunities that could one day lead to her being as great as, or assuming Jerry Goldsmith's place. She has it in her to be a lot more. A lot more.
Plus, in her pictures she looks like a nice person.

You have to look at it two ways. 1) the score written for the film and 2) the score that actually ends up on the album. Rarely does additional music by an additional composer end up on an OST (Hans Zimmer being the rare exception). Varese is marketing a Jerry Goldsmith score. That name carries considerable value to consumers. With all due respect to Mr. Debney, a Goldsmith-only album retains it's cachet.

I for one am just looking forward to the film. I'm a huge Joe Dante fan, and it's been too long since we've seen his sort of insanity on screen.

Ryan

So a 4 disc promo of say 5-6 hours of music for a 20 hour series is perfectly reasonable.

At least to me it is.

Can we please stop bitching about all of this and get back to listening to and appreciating the music? I think as film scores fans, some people feel that because it is such a small group of the overall music listeners that they / we should be privy to every little piece of information.

Grow up people. That's not how the world works.

I've said it before and I'll say it again. I'm in it for the music.

You guys can bitch all you want about who did what and why and to whom...one of these days you will wake up and realize that that doesn’t matter. It's all about the music, when you figure that out, that will be a glorious day.

--Brian

NP: Revolutions

PS: Boggan chill out man.

There IS a four disc promo. Unless I've gone insane.

Justin, about Walker's stuff, can't give that away.

Best regards,

Joe

I suppose I could host the entire promo for you, Peter.

But I wouldn't think Karpman would like that.

Best regards,

Joe

I don't care how much you all beg, I will not give this music away.

As for Shirley Walker producing promos of her B:TAS, I don't think she has. If someone has music from this series, it's a homemade production. Most of Shirley's promotional discs have percolated into the collector market, so why not B:TAS too? That's a redundant question -- you know the answer.

Peter, Ryan:

It's a promo, who cares?

I know your bootleg rules PeterK, but I want to mention the stuff below this paragraph to make some kind of point. What that point is, is not too clear to me at this moment.

I did stumble across a B: TAS boot a year ago.
It was a copy of a copy of a copy as far back as I could trace it and sadly has unrepairable errors. Why do I bring this up?
On it was about 5 cues from Walker's "Feat Of Clay" and it was more than clear that these tracks had been mastered. And quite nicely I might ad.
So either promos, or private editions for herself, or FYC discs do exist, or ... no, they do exist. What about remastered stuff for the DVDs?
Also as a plus was a suite from Carlos Rodriguez from "Avatar"
Only half the cues on the CD had unrepairable errors though.....

--Brian

If it helps me rangle up music I have wanted since I first heard it, then I'll do the Can-Can in a thong.

Or maybe Joseph W. Bat is having a good chuckle at my expense.

Either way.