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Danny Elfman scores 'Terminator: Salvation'


Charlie Brigden

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Well, James Cameron proves his brilliance. This franchise is nothing without him... I'll even go so far as to say that even without Arnold, it would work, as long as Cameron was the writer and/or director.

I don't think this is true, and I think while Cameron is certainly a visionary in some respects, he's rather like Lucas (and dare I say it, Tolkien) where he has some fantastic ideas, but his actual writing is not that good (like Lucas, his dialogue is often terrible). But his directing is superb, so it makes up for it. In the case of Terminator, it's easy to say "Oh, the franchise is nothing without Cameron" because we've had three films, with the lesser one being directed by a middle of the road director such as Jonathan Mostow, and some very average writers. I'm seeing T:S in a different light, because McG certainly has potential, even coming out of a series as terrible as CHARLIE'S ANGELS (as loathe as I am to admit it), and it's being written by Jonathan Nolan, who is certainly a better-than-average screenwriter, so I'm looking forward to it, even if Paul Haggis (hey, DUE SOUTH) and a guy who wrote an episode of MY TWO DADS (is that worthy of capitalization?) are Nolan's collaborators.

We have a habit of deifying - and then demonising - a lot of directors, especially when they have built geek franchises. Look at George Lucas. Hell, most geeks hated Cameron after TITANIC. Everyone would have probably thought you could never have good Star Trek without Roddenberry, but lo and behold along came Bennett and Meyer. Everyone thought Burton was the answer for Batman, but suddenly Christopher Nolan is on the scene and people have a whole different idea about those movies. The downside of the whole franchise thing is that, percentage wise, Hollywood rarely makes a good decision about who should direct a movie, especially franchise pictures. Paul Anderson and Brett Ratner are testament to that. But beyond all that, sometimes you have to just have faith. It's like WATCHMEN. My head says that'll be a train wreck, that Snyder is nowhere near as good a director to handle the material, but I love WATCHMEN, so I'm looking forward to seeing it (assuming it's released now). Cameron's done with Terminator, and I'd much rather see AVATAR than him handle another sequel. Let's see what someone else can do.

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three terrific scores in a row

Which would those be? :lol:

Hellboy 2 is decent, but nothing spectacular. Standard Operating Procedure is 75% cut and paste from Serenada Schizophrana. And Wanted is a little annoying.

Hellboy 2 is very good with some great moments. Wanted is excellent with some moments that are merely good. Standard Operating Procedure is excellent, new ground for Elfman. And, as stated, only two tracks are derived from Serenada Schizophrana. It's in the same mode, yes. But that's good news, as far as I'm concerned.

I'm a huge fan of Elfman's older stuff, but recently his music leaves much to be desired.

I seem to be more eclectic in my Elfman love. I like his late 80's/early 90's work. I adore his mid-late 90's work (not all- some I find unlistenable). And was generally disappointed with his early-mid 00' work (Fine, solid, listenable- but missing a spark). The three scores above totally got me psyched about Elfman again. SOP and Wanted were new sides to Elfman, and Hellboy II a wondrful throw-back to more classic Elfman.

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  • 4 weeks later...

Wow... that was close. We almost got a Santaolollon score for this.

Machine Music: "I wanted the sound of the resistance to be very delicate, reminiscent of Gustavo Santaolalla's analog guitar, so I thought of putting Gustavo together with Thom Yorke of Radiohead for the machine sound," said McG. "But their schedules were too tough, so then Danny Elfman articulated his sonic vision for the picture. He's a huge Terminator fan. I wish I could show you his house. Elfman lives in a haunted house that has strange prosthetic limbs from the turn of the century hanging on the wall."

Says this article from Wired

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I would actually have preferred another Beltrami score. I like his powerful orchestral effectiveness. An Elfman score could be too 'dandy' for a Terminator movie IMO.

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I would actually have preferred another Beltrami score. I like his powerful orchestral effectiveness. An Elfman score could be too 'dandy' for a Terminator movie IMO.

When will people stop stereotyping Danny Elfman for his "whimsical" scores? He has proved many times in the past two decades that he is capable of about everything, even failing miserably ( I am thinking of "The Kingdom").

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I would actually have preferred another Beltrami score. I like his powerful orchestral effectiveness. An Elfman score could be too 'dandy' for a Terminator movie IMO.

When will people stop stereotyping Danny Elfman for his "whimsical" scores? He has proved many times in the past two decades that he is capable of about everything, even failing miserably ( I am thinking of "The Kingdom").

The Kingdom is his only score that doesn't sound whimsical, and maybe Proof Of Life. He even managed to do it in Wanted and Milk.

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Perhaps I was wrong to use "whimsical". You are absolutely correct, Koray, very seldom does Danny Elfman write "non-whimsical" music. What I meant to say, though, was that some people seem to think that he only writes "pretty choral" music, like "Edward Scissorhands".

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I want to take this opportunity to say there is no reason for this movie.

other than greed $$$$$$

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Perhaps I was wrong to use "whimsical". You are absolutely correct, Koray, very seldom does Danny Elfman write "non-whimsical" music. What I meant to say, though, was that some people seem to think that he only writes "pretty choral" music, like "Edward Scissorhands".

I didn't mean whimsical either. I rather meant "sophisticated, pretentious, over the top", something like that.

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Congratulations, you've worked out Hollywood.

no I haven't

but you can bet on this board someone, some idiot will call this movie art.

the only art here will be greed.

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Elfman is going to write appropriately to the picture, like he always has. He's a chameleon. It is like saying Williams would not be appropriate for Rosewood because of Star Wars. You just don't have a clear picture of his work. Just stereotyping it.

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Congratulations, you've worked out Hollywood.

but you can bet on this board someone, some idiot will call this movie art.

Not necessarily on this board, but The Dark Knight fanboys will, because they're all convinced Christian Bale is the best actor in the history of film. I read the comments about his outburst on sites like ComingSoon and MovieWeb, and they're all like "Yeah, Bale is such a badass!!!!@!!!``1`111"

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Elfman is going to write appropriately to the picture, like he always has. He's a chameleon. It is like saying Williams would not be appropriate for Rosewood because of Star Wars. You just don't have a clear picture of his work. Just stereotyping it.

Indeed, I have faith in him. I would not surprised if his score is the best part of the film.

Not necessarily on this board, but The Dark Knight fanboys will, because they're all convinced Christian Bale is the best actor in the history of film. I read the comments about his outburst on sites like ComingSoon and MovieWeb, and they're all like "Yeah, Bale is such a badass!!!!@!!!``1`111"

Yes, I have seen far too many people like that. It is depressingly amusing.

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Congratulations, you've worked out Hollywood.

but you can bet on this board someone, some idiot will call this movie art.

Not necessarily on this board, but The Dark Knight fanboys will, because they're all convinced Christian Bale is the best actor in the history of film. I read the comments about his outburst on sites like ComingSoon and MovieWeb, and they're all like "Yeah, Bale is such a badass!!!!@!!!``1`111"

To each his own. After all, you're an Oscar bait fanboy. But to be fair to Christian, outburst or not, he is a brilliant actor.

In terms of the film, I don't see that it'll be any more greedy than T2. Somehow I doubt artistic intentions were high in Carolco's mind when that was made.

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I would not surprised if his score is the best part of the film.

Well, to me it is clear that Elfman is the best talent involved in this production, so that is a no brainer.

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I would not surprised if his score is the best part of the film.

Well, to me it is clear that Elfman is the best talent involved in this production

Second only to Shane Hurlbut.

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I would not surprised if his score is the best part of the film.

Well, to me it is clear that Elfman is the best talent involved in this production

Second only to Shane Hurlbut.

:rolleyes:

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To each his own. After all, you're an Oscar bait fanboy.

What the hell does that mean? That I only like films nominated for Oscars?!?! I never said Bale wasn't a good actor, I just said idiots that think The Dark Knight is the best film ever made also think Christian Bale is the greatest actor ever.

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To each his own. After all, you're an Oscar bait fanboy.

What the hell does that mean? That I only like films nominated for Oscars?!?! I never said Bale wasn't a good actor, I just said idiots that think The Dark Knight is the best film ever made also think Christian Bale is the greatest actor ever.

Judging from a lot of your posts, you seem to project yourself as someone who has taste because you like all of the Oscar-bait movies. Fair enough if you don't, but it's certainly what comes across, sometimes desperately.

People are well within their rights to think TDK is the best movie ever made. Is it? Probably not, but I'm not sure it's fair to label them as idiots.

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If this is the McG that made Charlie's Angels, forget it.

If it's the McG that made We Are Marshall, then maybe there's hope.

Although I agree with Joe, there is no reason to make this film other than milking a franchise that ended perfectly in the summer of 1991.

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Judging from a lot of your posts, you seem to project yourself as someone who has taste because you like all of the Oscar-bait movies. Fair enough if you don't, but it's certainly what comes across, sometimes desperately.

I do like a lot of the films the Academy nominates. They usually nominate really good films from each year. The thing is, I see the movies before the nominations are even announced, and I like them when I see them. So maybe the Academy and myself have the same taste in movies. Btw, you're talking to the only guy on this board that enjoys Transformers.

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If this is the McG that made Charlie's Angels, forget it.

If it's the McG that made We Are Marshall, then maybe there's hope.

Although I agree with Joe, there is no reason to make this film other than milking a franchise that ended perfectly in the summer of 1991.

Cameron wrapped that saga to a perfect conclusion.

Everything afterwards is excess.

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For once I agree. Terminator 2 is one of my all time most important movies, and the third one took away nearly everything that made the first two so special. I need to get both in high def actually and watch them again. I think I've only seen the first one once.

I'll probably see T:4 though, if only to see what Bale's done with the character.

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Cameron wrapped that saga to a perfect conclusion.

Everything afterwards is excess.

Saga? It's just a flawed movie with a remarkable sequel, not a story told in different installments.

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  • 1 month later...

This story's from a couple months back, but it has somthing I hadn't heard before:

Danny Elfman just signed on for the score. McG considered director Alejandro González Iñárritu's collaborator Gustavo Santaolalla for the earthy-humane part of the score and Johnny Greenwood from 'Radiohead' for the cold machine aspect. Couldn't get Hans Zimmer but actually met with original Terminator composer Brad Fiedel who know runs a surf shop. He didn't want to repeat Fiedel's work with Cameron so brought aboard Elfman who will give it a Wagnerian quality as well as use most of Fiedel's themes and ambient sounds.

So after Santaolalla, he wanted Hans Zimmer. But then he had to settle for lowly Danny Elfman. What a shame.

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I remember reading this somewhere else on the board.

I know we heard about Santalalala, but I don't remember anything about Zimmer. Didn't see it in this thread, anyway.

Ozzel — wanting to hear something from this score already, dangit.

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I would have LOVED a Jonny Greenwood Terminator score. Pity that McG would have hired him based on his Radiohead credentials rather than his BBC concert works and There Will Be Blood (which is fast becoming one of my Top 10 greatest scores from this decade).

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Titus is 1999, sorry!

whoops. Well, it's the thought that counts. We did not get much Goldenthal thus far this decade. But even re-heashed Titus is better than most "epic" scores these days :o

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  • 2 weeks later...

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