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More Musical Problems For Spiderman?


Ollie
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What a messed up turn of events (if true). I'm glad I'm not invested in the series, since I can't imagine a fan of the music not getting discouraged.

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What suprises me is that as successful as these films has been, that the studio feels a need to interfere. Makes one wonder if the studio was behind Elfman on the 2nd picture and didn't agree with Young being brought aboard.

Of course this isn't confirmed, just a rumor right now.

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Well, if you believe Elfman, Raimi has been seriously changed by the making of these film, it's gotten to his head in a serious way. I can understand any problems there might be.

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This is all but a sequel of the musical problems Spider-Man 2 had. In fact, in my opinion the problems in that film were far graver.

I thought you loved the film!

Morlock- who thinks the film had a whole lot of crap in it

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This is all but a sequel of the musical problems Spider-Man 2 had. In fact, in my opinion the problems in that film were far graver.

I thought you loved the film!

Morlock- who thinks the film had a whole lot of crap in it

Well, I love Spider-Man 2 and I love the music Danny Elfman wrote for it. It's a shame both things turned out to be incompatible and, eventually, separate entities.

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Reminds me of the Superman 2 situation, just adapting previous material. They had that 7 minute clip which I regretingly watched, most of the underscore was a direct copy of previous Elfman material, however the fight scene they showed sounded like original Young with some... interesting... renditions of the green goblin theme.

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Well, I love Spider-Man 2 and I love the music Danny Elfman wrote for it. It's a shame both things turned out to be incompatible and, eventually, separate entities.

I've lined up the alternate OST tracks to the scenes in the film they were meant for and they fit almost perfectly. I have no idea what the problem was.

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I'm not really suprised by this, but I'm still disappointed.

Is it that hard to just stick with one composer?

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I'm not really suprised by this, but I'm still disappointed.

Is it that hard to just stick with one composer?

Well, I'm sure Elfman would be doing it if it weren't for Raimi. Apparently he's being overtaken by his monster. Quite ironic considering the plot of Spidey 3. I'll miss Elfman's work, but I guess not that much considering.

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What suprises me is that as successful as these films has been, that the studio feels a need to interfere. Makes one wonder if the studio was behind Elfman on the 2nd picture and didn't agree with Young being brought aboard.

Of course this isn't confirmed, just a rumor right now.

All my experiences have shown me that the studio interferes because they believe that they are in control of the success of the product. They get so focused on some little detail that they can often miss the big picture. A good producer gives notes to the director on non-artistic things, they allready had the chance to say on the artsy things

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Plus if a film bombs in advance screenings the score tends to be the first thing blamed since it's the easiest to replace.

Well, yes. But that is not the case here - this is about the studio thinking that if they steer an inch away from the two previous films, the new one will bomb, and that makes them nervous.

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Ford Thaxton just posted this on FSM:

OK, I did a little checking and this is what I discovered...

Mr. Young is right now FINISHING his score, which does use some elements from Mr. Elfman's work on the two earlier films and that the director is quite happy with what he is getting.

According to every credible source I have, Mr. Elfman is not working on the film nor has he written anything for it as far as I can tell at this point.

So Mr. Young score is not being rejected or replaced.

The original post smells like complete bulls**T

NEXT.

Ford A. Thaxton

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Thaxton's post doesn't really contradict the original story. It never said that Raimi wasn't happy with the score, that Elfman was being brought on, or that the whole score was being replaced. :(

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You guys should check out the promotional bootleg for Spider-Man 2! It contains the complete uncut score as Elfman originally intented for the film and it does not sound musically inconsistent one bit. I don't understand why they cut the score up as they did. Elfman's music was perfect for the film.

That promo also contains Chris Young's music for the film. The only thing missing is John Debney's rescored Pizza Man cue.

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ok this is going to be a real silly question to most of you. who is Ford Thaxton?

Ford Thaxton is a producer, he has worked on many soundtrack releases from Prometheus and LaLaLand records to name a few and also on several major releases; Star Wars 4 disc Anthology and Star Trek TMP 20th Anniversary set.

His blunt upfront attitude has pissed many people off but there is truth in his words. Basically he speaks his mind and doesn't give a damn if you like it or not.

You guys should check out the promotional bootleg for Spider-Man 2! It contains the complete uncut score as Elfman originally intented for the film and it does not sound musically inconsistent one bit. I don't understand why they cut the score up as they did. Elfman's music was perfect for the film.

That promo also contains Chris Young's music for the film. The only thing missing is John Debney's rescored Pizza Man cue.

We already know.

Thaxton's post doesn't really contradict the original story. It never said that Raimi wasn't happy with the score, that Elfman was being brought on, or that the whole score was being replaced. :(

This whole thing is weird, at first someone who is wroking on the film posts on the blog that Elfman was coming back to help Young then the next rumor that Bartek would be adapting some of Elfman's music to replace some of Chris Young's.

But if you read it, nowhere does it say the entire score has been dumped. And like I said it's only a rumor. Plus there are those who also have inside info who seem to think the story is true.

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Pardon my Latin, but that is absolute bullshit. The studio should have no say regarding the score or any other creative process in the film. They're just worried about how much money they're going to make, period.

For this being the "director controlled system" it sure sounds like the studios still have the storytellers by the balls.

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You guys should check out the promotional bootleg for Spider-Man 2! It contains the complete uncut score as Elfman originally intented for the film and it does not sound musically inconsistent one bit. I don't understand why they cut the score up as they did. Elfman's music was perfect for the film.

That promo also contains Chris Young's music for the film. The only thing missing is John Debney's rescored Pizza Man cue.

We already know.

Define "we".

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Pardon my Latin, but that is absolute bullshit. The studio should have no say regarding the score or any other creative process in the film. They're just worried about how much money they're going to make, period.

For this being the "director controlled system" it sure sounds like the studios still have the storytellers by the balls.

Who ever said it was a director controlled system? Whoever it was, he had no idea what he was talking about. It is a 'driector's medium', certainly. But the word control rarely applies.

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I hope this isn't true. I'm really looking forward to hearing Christopher Young's work on the film.

Young's music for the train sequence has temp track written all over it.

Explain?

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Pardon my Latin, but that is absolute bullshit. The studio should have no say regarding the score or any other creative process in the film. They're just worried about how much money they're going to make, period.

For this being the "director controlled system" it sure sounds like the studios still have the storytellers by the balls.

Who ever said it was a director controlled system? Whoever it was, he had no idea what he was talking about. It is a 'driector's medium', certainly. But the word control rarely applies.

I've heard many people refer to it as such. I responded with virtually the same thoughts as you. As much as directors should be in charge of their films, I doubt they ever will be.

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I hope this isn't true. I'm really looking forward to hearing Christopher Young's work on the film.
Young's music for the train sequence has temp track written all over it.

Explain?

Meaning I've heard it before in it's original form. In fact that's one of the reasons, according to some, that Young was brought in. Elfman refused to copy the temp tracks.

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That's basically what happened, this is from an interview with Elfman:

It’s too bad because Sam was at the top of my list. He was actually even easier than Tim to work with and we’d never had a disagreement. To see such a profound negative change in a human being was almost enough to make me feel like I didn’t want to make films anymore. It was really disheartening and sad to see the way it ended up. The end of Spider-Man 2 was a self-induced hysteria. It got to a point where I couldn’t even adapt my own music close enough because two thirds of their temp score was Spider-Man 1. If I varied from one note it was like a self-induced hysteria.

They wanted this one cue that was basically from Hellraiser and I was like “I can’t get any closer and I’m not going to imitate [Hellraiser composer] Christopher Young. Go fucking hire Christopher Young.” So they hired Christopher Young to do a cue like Hellraiser and he couldn’t get close enough to Hellraiser so they ended up licensing the cue from Hellraiser.

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I too have the complete 2-CD promo and have tried synching the unused music to the film. It still fits relatively well (and it's really good). I can't figure out why Raimi would have had any problems.

This is sad news, but if true, hopeflly Bartek will stay true to Danny's style.

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I would certainly feel much better about Bartek adapting Elfman's music than I do about Young adapting it. His cues for Spider-Man 2 sounded nice, but they really don't match the sound that Elfman has constructed for Spider-Man. It's a shame things have gone to crap like this.

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I'm sorry, so now it's better to have an orchestrator do a big budget summer movie then an experienced and talented composer like young?

That is just....insane!

Indeed it is insane.

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Bartek is not doing the entire score, just re-doing some sections according to the website.

He's probably just taking tracks already done and just making them work for the scenes that need fixing. He orchestrated them, so its not like he isn't familiar with them or anything. He's not composing anthing most likely so I don't see the big deal. Its basically using Elfman's work without Elfman being paid to come in.

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Why not just have a single composer come into this film and use his own musical voice. Elfman's themes or style are hardly so revered or so groundbreaking that Spider-man could not excist without them.

Something like Patrick Doyle's Harry potter score for instance.

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I said adapting. Bartek has worked with Elfman for years, and is very familiar with his sound (and contributes to it), and if you're adapting cues from Spider-Man 1, then I'd rather Bartek do it than Young, who's cues didn't really match with the sound Elfman established. No, it's not groundbreaking, but I very much enjoy what Elfman has done, and I'd rather have the sound and themes Elfman has established be tampered with as little as possible. And even if you don't care for the scores, then surely you can appreciate salvaging as much musical continuity as possible after the crap that's already happened?

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Musical continuity?

You prefer continuity over progression? What was, over what might be?

I'd rather have an effective score that does not sound like a rearranged version of a previous score, like Superman II, or The Chamber of Secrets and Home Alone 2.

As a filmscore fan, I find these kinds of patch jobs offensive to the art of film scoring, and object to them, and those who defend them!

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