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A proper release of A Family Man would be very much appreciated.

Summer School getting a CD and vinyl release Danny Elfman’s “SUMMER SCHOOL” soundtrack coming to vinyl (including bloody “Chainsaw and Dave” variant) and CD - Rue Morgue (rue-morgue.com)

I think Big Eyes is my least favourite Elfman score. It's so nondescript. That whole movie was weird. It's like it was so actively avoiding melodrama that it didn't have much drama at all. Even though it's far from his worst, and even though I'll check out everything he does in hope of a return to form, that's the movie where Burton lost me. That movie should have been great.

I've no idea what Bacon's score is like, but the music Elfman wrote was heavily electronic.

A shame but this movie has had an absolutely chaotic post-production. There were two different versions of the movie testing at the same time a week ago. Elfman was scoring a cut of this movie in August of 2021.

I just got back from seeing this and someone was credited as a co-composer in the end credits (not the main on end).

I'm really looking forward to A Haunting in Venice. Death on the Nile really grew on me once I'd figured out what the themes actually represent. Reviewers all called this theme a general love theme, when it's actually a theme specific for Linnet. 1:03 onwards. Similarly, what was often called the mystery or conspiracy theme is actually a theme specifically for . 0:09 The entire score clicked for me once I'd realised this. Take the following cue: 0:33 - 1:20 plays as At 2:10 in this cue There are definitely around 10 - 15 minutes here where the music just coasts and broods in the background, but the musical storytelling, on the whole, is absolutely brilliant. I notice more on every listen.

It plays throughout Ben's death in 'Revenge' and there's a lovely version at the end of that track, too. The themes are all related to each other (bar the Goblin theme), so you'll often hear the beginning of one theme segway into another. For example, in 'Revenge', you have a cool version of a Spider-Man theme variant at 1:48 which is completed by the ending of the Peter/Responsibility theme at 1:55.

Elfman worked on this movie before Doctor Strange. It has since had reshoots and Elfman's 2022 was stupidly busy. Wouldn't be surprised if Chris Bacon had to adapt/arrange write new music for the new cut. Expecting a co-composer credit for him.

Doc Ock's theme links to the Spider-Man theme which makes the action music a lot more coherent. In fact, all the themes in Spider-Man 2 link to the main theme (same thing with Batman Returns and Doctor Strange 2). I think Spider-Man 2 is a more well-rounded listen but that the first has greater highlights.

Obviously these things change, but I recall MV saying a few years ago that only Spider-Man 1 would be possible to release. I'm not sure if Elfman and Raimi being on great terms again makes a release of the sequels more or less likely.

Interestingly, Elfman tweeted around the time of this release that he was (positively!) surprised by it. It seems like he didn't even know it was happening.

This is how it appears in my iTunes.

The following are solo Elfman: Wednesday Main Titles Morticia and Wednesday Secret Library Scorpion Flashback Wednesday End Titles Meet Wednesday Nightshades Wednesday Addams (End Titles) The following are solo Bacon: The Monster It's a Snood The Monster is Here Uncle Fester Fester and Wednesday Stakeout Let's Roll Poe Cup Fanfare The rest are credited to both.

Elfman is currently writing a commission for the Orpheus Chamber Orchestra. https://datebook.sfchronicle.com/music/danny-elfmans-nutty-year-continues-with-s-f-symphony-premiere-with-michael-tilson-thomas

Yeah, I'm the same. I first thought this was a really weird pairing, but after reading the book, which moves between comedy and horror and drama and thriller sometimes mid-sentence, the decision made sense to me. Apparently Baumbach asked Elfman to refamiliarise himself with Midnight Run when they were working on this.

I appreciate Doctor Strange 2 for ditching the 'who can punch harder/who can think quicker wins the fight' trope. In Spider-Man 2, Peter 'beat' Doc Ock by quoting his aunt to him. In Spider-Man 3, Peter forgives Flint Marko. In Doctor Strange 2, Strange learns to take a back seat and instils confidence into America Chavez, who 'beats' Wanda by showing her that what she wants isn't right. It's corny but I find it pretty moving. There's a lot of clunky stuff in there, but its heart is in the right place and Raimi can't not be visually dynamic. I think it's pretty fascinating in that it's about two people craving happiness and taking self-destructive measures to try and find it. The script sometimes gets in the way of that, but that core idea is very compelling to me. I like that our hero and villain take the same journey. It helps that Cumberbatch and Olsen are talented actors.

Elfman will score Noah Baumbach's White Noise. Danny Elfman: ‘Somewhere ahead of me is the Grim Reaper’ (inews.co.uk)

Elfman's piece for the National Youth Orchestra of Great Britain premiered this weekend. The reaction on social media and in the handful of reviews out there has been very positive. It's available to listen to on BBC iPlayer if you can access that. BBC Radio 3 - BBC Proms, 2022, Prom 27: NYOGB play Elfman, Gershwin and Ravel If not, someone has uploaded it to Youtube, but I imagine it'll be taken down soon enough. The performance will be broadcast later this month.

'Additional composers' don't bother me much at all. But what does interest me is that JNH explicitly said in an interview with Steven Price not long ago that he writes it all himself, apparently dismissing work by Sven Faulconer, Stuart Michael Thomas, Chris Bacon and Xander Rodzinski over the years. Elfman similiarly talked in a Doctor Strange interview about having a really small team and only having Chris Bacon to 'pick up a cue' when he's running out of time, which, again, really seems to underplay his role, and that's not even to mention David Buckley or T J Lindgren (who Elfman always credits - they're sometimes even given clear cue credit in the album booklets!). So what is it? Is the work of these guys more of a 'technical role' and they genuinely don't see it as farming out work, or are they just trying to sell themselves? Both? Both composers have always struck me as being pretty direct and I'd like to think neither would deny credit to those who deserve it.

Clemmensen's review of DS2 disappointed me. It's not that he didn't seem to care for the score, which is obviously fine, but he refused to evaluate it for what it is. He throws out comments about Wanda and Strange's themes fighting as if that's not a really cool thing. He mentions the similarities between Strange's and Wanda's themes as if that wasn't entirely purposeful, and he doesn't mention how Strange's theme links to America's theme or the Illuminati theme. He mistakes Wong's theme for Strange's. He mentions that the Wanda theme dominates the suites when the Strange theme is objectively played more. He doesn't seem to notice the development of Strange's theme at the end of 'An Interesting Question.' It's a weird review from Clemmenson, who I've always relied on to deconstruct dense scores to help me understand them better.

I admired The Batman but wasn't even remotely invested in the story or its characters. It had no heart.