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Danny Elfman's THE HULK


Oskar

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All you Elfman bashers get ready because his new superhero score again lacks a grand, instantly identifyable theme. His music for Ang Lee's "The Hulk" is far from original and is neither epic in scope nor sound.

And still, I like it...a lot.

I predict that most reviews for this soundtrack will be towards the negative side, simply because large portions of The Hulk sound lifted from previous Elfman scores like Planet of the Apes and Red Dragon. I hope that most reviewers will keep in mind though that Elfman replaced Mycheal Danna at the very last minute so to me It would seems nearly impossible to write a completely original score in such short notice.

Now about the music itself, it is no big secret that Elfman's favorite composer is the late Bernard Herrmann, and this affection can really be heard in the main theme. This theme (first heard in Main Titles), which I presume represents the scientific aspect of the movie, sounds a lot like Herrmann music for the Hitchcock classic Vertigo with descending flutes and strings. Under this theme plays a low repeating string motif which I really dig.

What people will find most surprising about this score will probably be the African sounding music with ethnic percussion and vocals by Natascha Atlas. Captured is a track that must be heard to be believed; it's unlike anything Danny has ever written before.

One of the instruments also heard in the Hulk soundtrack is the Duduk, an instrument which was used quite prominently by Hans Zimmer in his Gladiator soundtrack. It's a wonderful instrument and Elfman uses it to great extent with highlights being tracks 12 and 14.

The synthesizer and percussion are used once again by Elfman to spice up the action music which in this case is really loud and powerfull music. Whenever Bruce Banner Hulks out on screen so to speak, the orchestra Hulks out right along with him.

But the score is really at it's best when the music takes a time to breath and provides the appropriate underscore for the more intimate and emotional moments on screen (Gentle Giant, The Phone Call).

What's really missing from this score is the trademark Elfman choir but I guess the movie didn't called for it or there was no time left or something.

I know there aren't many Elfman lovers on this board, but I really felt that I should voice my opinion on this particular score because it has had low expectations from day one.

Maybe I have confirmed your negative feelings towards this score, or maybe you are more reserved now and you will wait untill the score and film comes out so you can finally make up your own mind whether you like it or not.

In any case let me know :lsvader:

Oskar

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The site that had the sound clips has been taken down. I haven't got the chance to listen to it yet, but I've heard positive things about the music. We'll see.

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I think Danny Elfman has talent, but has let several oppurtunities in recent years go to waste. He's truend out several great scores... Beetlejuice, Batman, Nightmare Before Christmas, Black Beauty, Somersby, etc. I think he has a knack for deeply emotional and melancholy music. His love of percussion recently has been his downfall though I think. And one reason why I will defend him to the end is his masterpiece that stands by itself as one of the greatest scores of all time... Edward Scissorhands. It is some of the most beautiful music I have ever heard.

Ted, who thinks that ES is so good that it's comparable to E.T.

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I long for the days when Elfman did straightforward orchestral scores with little or no use of synths.

I'm still looking forward to the Hulk score, although I was hoping something more along the lines of Steiner's King Kong, which he says is one of his all-time favorite and influential scores. (It's also one of my all-time favorites.)

I haven't heard the soundclips, as I want to be surprised when I hear it in the theatre opening day.

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www.filmtracks.com has been updated with a review of Elfman's Hulk score, which Clemmenson only gave ** out of *****. I listened to the four clips and with the exception of that solo vocalist, it sounds like a pretty predictable straighforward score. Then again, I haven't heard the whole thing yet. One must also keep in mind that Elfman had very little time to complete this score.

Ted

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I wasn't expecting much, both because of the little time left to Elfman and because, to me- the movie looks really bad.

P.S. You can't forget Elfman's Black Beauty- it's one of his best.

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And one reason why I will defend him to the end is his masterpiece that stands by itself as one of the greatest scores of all time... Edward Scissorhands. It is some of the most beautiful music I have ever heard.

Ted, who thinks that ES is so good that it's comparable to E.T.

I believe that Edward Scissorhands is Danny Elfman's best score by far. At least I hear it that way. It has all the elements magical scores could have only wished they would achieve conjuring up. It encompasses hope, tragic, sorrow,... and this all wondrously packed into downright excellent theme. Yet I prefer ET over Scissorhands when played against each other. It perhaps falls flat upon a style. Williams' is my kind of tea. To tell the truth, though, I became interested in Elfman's music practically thanks to Edward Scissorhands and I was extremely happy to find it available on CD some weeks ago. My second favorite, Somersby, is way out of print and thence still missing in my collection. If you like either score that much, those few selections on Darkened Theatre vol. 2 are too few to suffice. (The last Elfman's score I enjoy listening to be Sleepy Hollow.)

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Batman, Sleepy Hollow and Edward made me fall in love with Elfman. Batman still stands as one of the best 5 scores of all time, IMHO.

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Has anyone heard the complete scores of Beetlejuce or The Family Man? They are really quite good.

Ted, who is determined to make a cd out of unreleased soundclips of great Elfman music that are all over the Web

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They should have released more pressed copies of Somersby. This is my biggest complaint about Elfman's once released albums. Instead, you get endless truckloads of Titanic and American Pie. :)

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All you Elfman bashers get ready because his new superhero score again lacks a grand, instantly identifyable theme.

I'd really like to know why, for some people, a so called "lack of theme(s)" (which is totally wrong concerning The Hulk and Spider-Man too) should make a score a bad one ?

Film music is not only a question of "theme", but also "musical colour", orchestrations, etc...

And Hulk/Bruce Banner is definitely NOT a super-hero in the way of Superman, that explains the "lack of heroic theme".

According to me, of course...:nono:

PS : Sommersby is still quite available in France...we're so lucky ;) (it's useless to say that I already have it)

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Yeah, i've been reading some VERY positive reviews about Hulk. It seems that people are pleasantly surprised by the film, i heard its artistic as well as emotional and action filled. I also read that the CGI is actually quite incredible, despite what the trailers showed. Perhaps we were wrong in this case.

Joel-who is now very excited about Hulk

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I've said it all along, I think this is going to be a good film. Ang Lee will not dissapoint. The man knows what he's doing. Crouching Tiger, Hidden Dragon was an outstanding film, and though Sense and Sensibility isn't excatly my cup of tea, I also thought that was a good film.

Ted

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It sure would be nice to know where you heard this. Is it even out yet?  

You stole the words right out of my mouth, thief!

All you Elfman bashers get ready because his new superhero score again lacks a grand, instantly identifyable theme

Of course it does, it's Elfman.

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The film and the CGi have been getting really good reviews.

I've read 12 reviews so far..all of them positive, 12 very positive and every singel one mentions the CGi has being great.

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Dennis Muren is the supervisor of the Special Visual Effects. So I'm sure they are going to be top-notch effects.

Merkel, thanks for keeping your faith on Ang Lee's new film and not succumbing to the lot of attacks it's getting. It is gonna be one of the best this summer.

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I'm sure of it, Peio. This movie will come as surprise many people I believe. I'm very impressed with what I've seen and read thus far.

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I'm afraid I might not be getting your sarcasm.

That wasn't sarcasm, part faith in ILM, part mocking of the people who said it has bad CGI. :)

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Batman, Sleepy Hollow and Edward made me fall in love with Elfman. Batman still stands as one of the best 5 scores of all time, IMHO.

Very true, Merkel ! :)

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I know there aren't many Elfman lovers on this board, but I really felt that I should voice my opinion on this particular score because it has had low expectations from day one.  

Maybe I have confirmed your negative feelings towards this score, or maybe you are more reserved now and you will wait untill the score and film comes out so you can finally make up your own mind whether you like it or not.

In any case let me know :sigh:

Oskar

I am not a huge Elfman fan but I thoroughly enjoy this score as well. it supports a great film and is nice the listen to on its own for the reasons you expressed in your post. I also like the descending 6 note motif that symbolises his fathers genetic research and the abomination of a legacy that he left his son. It's great how Elfman uses it repeatedly throughout the film to a thunderous conclusion at the end of the film. And yes, the active bass/celli part that counterpoints it is also great. I could do without the synth ostinatos that Elfman has used since MIB but that's a small complaint. Otherwise, an excellent effort and a great score to listen to.

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No offence but the only Elfman composition that I find worth listening to is The Simpsons. I'll bet he had some help from an orchestrator there too. For his other works I think he isn't mature enough as a composer. He isn't consistant in delivering a certain level of quality. They sometimes work (like the first Batman) but there were other occasions that I hear a translation from midi composed parts into the real orchestra. At times he tries to mimic other composers and then things start to feel a bit mechanical (like the duck scene in another Batman). I know he has his own voice (which I'm not to keen about) and maybe he should stick to it.

He's the only composer, except for Phillip Glass, that's making me cautious whenever I start watching a movie.

----------------

Alex Cremers

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Danny Elfman is exploiting in Hulk the harmonic idea he used for the Red Dragon theme, which is great, combined with this far more interesting rythmic and percussive ideas that he pioneered in Planet of the Apes. In the process, he is including new sounds and textures in a very tasteful way, in my opinion.

I don't think his focus is in 'themes' right now, and this is not bad, although I do agree that traditionally a superhero movie demands a recognizable theme. I think his Planet of Apes and Red Dragon incarnations of his new ideas delivered more recognizable motifs than the later Spiderman and Hulk. But maybe this wasn't the approach he was asked for.

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It's a pretty good score. It's simplistic but highly effective and isn't cliche unlike many superhero themes. It creates the perfect atmosphere for the movie and I give Elfman a lot of props for it, especially given the amount of time he had to create the score.

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I still would have preferred to here what Mychael Danna could have produced for this movie ROTFLMAO but I've got to get over that ;). I didn't particularly like the score but then I didn't really expect or want to like it either so go figure :wave: . Charles, you're right - they're a distinct taste of Red Dragon in there especially over the excremental opening credits (unlike many here I though the score to Red Dragon functioned abysmally in the film, but that's another matter entirely).

And did anyone else think the "ethnic"/African/primal music was a bad decision? The music that accompanies the transfer of Banner across the desert to the underground military installation was sooooooo Hans Zimmer. Go listen to "Chant" from Black Hawk Down and you'll hear some amazing similarities (though neither cue is particularly original). Instead of all those drums and "African beats" I think a more brass intensive treatment would have worked better for the action sequences. Also the quieter scenes, especially where Bruce and Betty visit the gamma irradiated wasteland of their youth just cried out for a touch of real Americana. Some mournful trumpet pieces would have been marvellous... :)

CYPHER

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