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ddddeeee

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  1. It's not quite that simple though. Those credits can mean really different things. For example, Paul Mounsey is given credit on 'Forbidden Friendship' and that cue is mostly Powell. Zimmer gives cue sheet credit sometimes to someone for helping to orchestrate. Elfman gives cue sheet credit if someone gives him a sound that he then played with. What gets you 'additional music' and cue sheet credit for these guys wouldn't even get you a 'music programmer' credit from some other big composers. It's all relative.
  2. I don't doubt Sener does a fair bit of heavy lifting. He joins Powell projects on day one; he doesn't just come in when deadlines are looming. Having said that, I imagine that Sener landed this job on the exact condition that he sound as much like Powell as possible.
  3. Yeah, Raimi was completely happy with Young's new material, which is a bit odd considering he was so obsessed with Elfman's love theme that he put it in scenes it really didn't belong - like Aunt May's hero speech.
  4. The score was disappointing. It was always there but I never really felt like it added anything. Horner's theme is completely lost in the mix and Elfman's, though there, really doesn't land the way it should. It reminded me of Endgame and Justice League in that you have all these themes cameoing but the way they're buried in the mix/orchestration makes it seem like the filmmakers are almost embarrassed by them. I even felt like this was the case with Strange's theme. A let down after I really enjoyed FFH - mostly for Mysterio's super fun theme.
  5. Seems a bit early. Wasn't he just refamiliarising himself with the themes like two months ago? He was on the first two for way longer than that. Incidentally, I hope the recording is better than for CoG. There's lots of music there I think I'd love if it didnt sound like it was recorded underwater.
  6. Burwell was sacked from The Dark World. Taylor was quite open about how annoyed he was by this. Giacchino on Doctor Strange has always seemed like a Marvel decision to me, but I might be wrong on that. Not sure why Debney wasn't on the first Iron Man.
  7. Apparently post production on this was a real nightmare (including the recording of the score), so hopefully the liner notes will get into it Martin Landau once commented that Elfman was writing the score for the opening scene (a reshoot) behind the monitor as it was being shot
  8. I love Spider-Man 3 as Young wrote it, but the score in the movie is an utter mess Young's original themes for MJ and May are completely replaced with music by Deborah Lurie and some of Elfman's music from the first two (including music that was rejected from Spider-Man 2) Some of the Spider-Man material was written by Lurie, too, who worked directly with Raimi In any one scene, you might go between three composers' work Apparently it was Amy Pascal's decision to go back more to Elfman's material Spider-Man 2's music drama is very well known, but the situation in the third was just as bad - though at least the love theme wasn't tracked over an Aunt May scene like it was in that movie
  9. Here's the Deborah Lurie interview, though you have to subscribe to FSM to access it. https://www.filmscoremonthly.com/fsmonline/story.cfm?maID=879 Elfman spoke about how Raimi said that he missed him on Spider-Man 3 in an Oz interview (he had signed on to score Spider-Man 4), so I really don't think he had anything to do with 3 at all.
  10. There was an interview with Lurie for (I think) FilmScoreMonthly, and she spoke about writing that cue. She also said she didn't work with Young and worked directly with Raimi.
  11. Tyler was on AoU until the very end. He and Elfman were recording music at the same time in London. In a recent interview, Tyler was talking about how he takes great care to make sure that the music is manageable for the orchestra, but at the scoring sessions Elfman seemed to delight in making players really have to push themselves. Regardless, it was a mess all around, and all for the music to be inaudible in the movie anyway.
  12. That's his percussion quartet. His percussion concerto is now due to premiere in 2022 (along with his cello concerto and another piece for the National Youth Orchestra).
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