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About ddddeeee

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  1. Elfman's been prepping some solo songs over lockdown. Some of them were supposed to debut at Coachella.
  2. Grinch had a cd release a few months after the movie came out.
  3. I don't, sorry. It was an audio interview. Someone told him how much he liked Waterworld, and JNH said that he'd been listening to it recently because it was being used as a temp for a movie he was going to be scoring down the line. I think this was around the time Crimes of Grindelwald was released.
  4. Very excited about Jungle Cruise - it was largely temped with Waterworld according to JNH.
  5. They didn't have enough time to do the whole thing, but Elfman was replacing Tyler's score on AoU. He wasn't lending a helping hand as was reported.
  6. Young called Derrickson to pitch his scoring of Doctor Strange, but didn't get hired.
  7. It's a great score, but Raimi went straight to Elfman for Oz afterwards. In fact, Elfman had been hired to score Spider-Man 4 before it fell apart. If Raimi is given his choice, it'll be Elfman.
  8. I love Young and would be happy to see him on this, but of the three Raimi movies he's scored, two were originally meant for Elfman (he was set to score The Gift and was offered SM3).
  9. Isn't getting a 'Produced by' and an 'Additional Music by' credit code for 'Co-composed by'? I've read that a few times.
  10. There are very few recent JNH/Elfman scores which didn't require additional composers/arrangers. Almost every Elfman score involves Chris Bacon and/or T.J. Lindgren. Almost every James Newton Howard score involves Sven Faulconer. Powell regularly uses three additional composers/arrangers and a little army of orchestrators - there are only a handful of cues on HTTYD3 which only have Powell credited as composer. Christopher Young hires help for his projects nowadays and he doesn't seem to get all that much work. It's the nature of the business these days. Composers cannot
  11. Reitman's previous two movies were scored by Rob Simonsen. I'd like to see him on it.
  12. Elfman is among the highest-paid composers, getting roughly $1.5 million per film, plus box office bonuses. https://www.latimes.com/archives/la-xpm-2003-jun-24-et-gold24-story.html On the other hand, Elfman got paid $1 (literally) for Freeway, Standard Operating Procedure, The Unknown Known, The End of the Tour....
  13. Bacon wrote a fair bit of music for Goosebumps, and helped with Avengers, but the rest of his contributions have otherwise been relatively minor. He wrote two cues for Alice Through the Looking Glass and Mr Peabody (minor cues which didn't make either score album) and he has one cue credit for The Grinch's album. For Dumbo, he arranged a handful of Elfman's cues. At least this is what the cue sheets suggest. To be fair to Elfman, he at least credits those who help him out. There's an A-List composer whose ghostwriters have ghostwriters and they often get no credit whatsoever (not H
  14. I lack the musical knowledge to really explain this, but Elfman and Shore just seem to favour similar progressions. Parts of Silence of the Lambs are very similar to Batman, while the quieter parts of Oz sound like the Shire parts of Lord of the Rings. It's probably why Shore scoring Ed Wood doesn't seem as odd in context as it might have done, or how Elfman channelling Shore in Red Dragon just sounds like Elfman. I don't think they're ever copying each other.
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