June 7, 2007, 1:32 p.m. CST
by Hairy Nutsack
What's the big fucking deal? It's just music.
June 7, 2007, 1:39 p.m. CST
by greigy just wanted to say
The Chumps at Sony didn't give him a freakin Blu-Ray Player...!!!!
June 7, 2007, 1:43 p.m. CST
"It's just music." So do you not understand the point of Rolling Stone, Spin, etc? I'd rather read about the composer than have to listen to the Transformer theme again
June 7, 2007, 1:46 p.m. CST
bad sequels and cheese like The Core? The Gift notwithstanding...
June 7, 2007, 1:47 p.m. CST
...there's an article on AICN that doesn't somehow mention Hostel: Part 2 or Eli Roth? Wow.
June 7, 2007, 1:53 p.m. CST
While you may not appreciate the music in movies and who creates it, some of us do. Without a good score, the scares wouldn't be as scary, the action wouldn't be as exciting, and the death scenes wouldn't be as depressing. Try and imagine a horror movie building tension without a creepy score rising to a crescendo in the background. It just doesn't happen...and it wouldn't work nearly as well. If you ever want to understand how a bad score can ruin (or at least nearly ruin) a movie, watch Ladyhawke.<p>I, for one, like to read about the composers involved with scoring films. They are such an integral part of the process that is so often overlooked.
June 7, 2007, 1:56 p.m. CST
"The action music in SPIDER-MAN 3 is some of the more powerful and muscular music that I’ve really heard in a while."<p> Jesus Christ, I don't even remember the music in Spider-man 3. <p> ScoreKeeper, what happened to Pirates 3? You just throw it out the door when an interview comes along?
June 7, 2007, 1:56 p.m. CST
Try to imagine JAWS without the music. Any better?
June 7, 2007, 2:02 p.m. CST
by Nice Marmot
Film at 11.
June 7, 2007, 2:15 p.m. CST
by Hairy Nutsack
I knew I'd rile some fo you up, best First post ever!<p> I understand completely the need for music in movies, what I don't understand why such a big deal is made about it. Unless it's a musical, who goes to movies for the music? And since I don't watch musicals, I have never been to a movie for the music.
June 7, 2007, 2:17 p.m. CST
June 7, 2007, 2:18 p.m. CST
by Abominable Snowcone
Especially the piano stuff during his first transformation. You know, the locket music. The horny music for 'black suit spidey' was okay, too--that 1940's noir-ish music.
June 7, 2007, 2:24 p.m. CST
I WANT THE SANDMAN'S BIRTH THEME NOW!!!!!!!!!!!!!!
June 7, 2007, 2:27 p.m. CST
by Sledge Hammer
...and intent of a film better than a truly great score that perfectly links and underlines the visuals on screen, and the emotions being played out. Much like Cinematography and Editing, it's one of the truest and most important elements in the creation of great film, and like those two, also often one of the most overlooked and unjustly neglected. You may not go to the movies for the music, cinematography or editing, but that doesn't make those elements of film creation any less important in the job of achieving great film.<p>Oh, and as for Christopher Young, his scores for the first two Hellraiser films are absolute classics.
June 7, 2007, 2:29 p.m. CST
Maybe because the music for Pirates 3 was incredibly standard Zimmer? Zimmer has become a parody of himself. If you've heard "The Peacemaker", you've heard nearly all of his ideas for scoring action music. It's like Horner and Star Trek II -- the man just rips the same ideas from an earlier score and recycles them with near zero variation. I swear I've heard the same pattern of synth drum loops over and over again throughout his career. And his Pirates 3 score was no different. It's just the same old same old. (largely)
June 7, 2007, 3:03 p.m. CST
by Buzz Maverik
It was the best thing about the movie, which was fun crap. But the score was great. Dramatic. Vaguely western.<p>I've read that Elfman's problems with Raimi were that Sam no longer cared about the music, just wanted to go with the temporary tracks, etc. While SPIDER-MAN 3 may be Raimi's worst film, he is still a good director. There are good directors who don't seem to care about the music (i.e. Terry Gilliam), but the music is important in the cinematic experience.
June 7, 2007, 3:06 p.m. CST
I would love to read about Danny Elfman's work, namely any problems with it. But what about John Carpenter? I would think he cared the MOST about the music in films because he does his own scoring.
June 7, 2007, 3:06 p.m. CST
I distinctly remembered ScoreKeeper say nearly the exact same thing when he did his piece on Pirates 3. "Powerful battle music," etc.<p> Yes, I totally see where you are coming from with regards to Zimmer. For another example, look at his Batman Begins theme and his Kraken theme from Pirates 2. Nearly identical.<p> Sure, the music wasn't perfect. My comment wasn't really going out in support of Pirates, but to truly expose that statement as momentary kiss-assery on ScoreKeeper's part.
June 7, 2007, 3:53 p.m. CST
Especially the Sandman stuff. *Especially* the Sandman 'birth' scene!
June 7, 2007, 4:21 p.m. CST
Danny rocks though.
June 7, 2007, 4:48 p.m. CST
by future help
even better...cut out 20 mins and add 20 min of deleted character building scenes.
June 7, 2007, 7:02 p.m. CST
Hard Rain has one of the best action scores I've heard. The movie may be poop but "The Jail Cell" music is exhilarating along with many other action sequences! He is the sole reason that movie is tolerable on any level. I'm always eager to follow Christopher Young's career.
June 7, 2007, 7:17 p.m. CST
Have a read of this and... well, I understand that Chris Young has to be diplomatic, but it's a shame when people behave like jerks and aren't held accountable for it (just look at Harvey and Bob W). Also you have to bear in mind that it's pretty well known that Elfman is a good guy - for him to say what he says below is... well, maybe it offers some clues as to why the 3rd part of Spidy aint so good: CHUD: I read how you're not going to work on Spider-Man 3. Do you want to comment on that? ELFMAN: Let me put it this way, there is no amount of money that anybody could offer me to do Spider-Man 3. I would sooner go back to bussing tables,. CHUD: I look on the IMDB and I see six people credited with the music on Spider-Man 2. Did that contribute to your feelings? ELFMAN: It's all about how the production went completely insane at the end. It was the worst film experience I've had in 20 years. It was all pure insanity, it was all completely needless and in the end they went nuts trying to imitate every single note of their temp score. If I think somebody's obsessively attached to a temporary score in any way I'd stay away from it. But this was the worst I've seen times ten and I've worked with some pretty anal directors. Warren Beatty and Martin Brest are not easy people but this was taking anal retentive to a new extreme. CHUD: It's odd because Sam Raimi is a guy you've been working with for 15 years. ELFMAN: Sam was not there. He was there, but he was not the Sam that I knew. As you said, I've known Sam for almost 15 years. It was my fifth movie with him and all I can say is that the person who was there at the end of Spider-Man 2 was not Sam. I don't know who it was, but it wasn't Sam. It was as close to living out Invasion of the Body Snatchers, as I've ever experienced. There's a lot of micro-managers out there. Tim Burton's a micro-manager musically in his own way and there's moments where he'll get real obsessive over like a certain cue. But we work it out. Never in 20 years have I come across a situation where I couldn't work it out. For a director to be a micro-manager is nothing new. If anything I would say most of them are. But to get to the level where you don't need a composer, you just need a musical arranger to adapt note for note as close as possible. There's nothing for me to do as a composer here. CHUD: Would you work with Sam again? ELFMAN: Not if I can help it. It's too bad because Sam was at the top of my list. He was actually even easier than Tim Burton 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. CHUD: That's bizarre. ELFMAN: 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 ******* 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. ************** By the way Scorekeeper, a John Carpenter interview would be awesome in the extremem - especially if you can ask him why he stopped working with Alan Howarth - his scores were never as good after that :-(
June 7, 2007, 10:03 p.m. CST
- the music worked gangbusters. The train cue lifted the action and suspense with its escalating tempo and modulation like no Elfman score I've heard. Bummer about the animosity between Sam & Dan but to my ears the film was all the better for it.
June 8, 2007, 12:31 p.m. CST
by Abominable Snowcone
Bitch smackdown! Head to head synthesizer battle! In a cage!
June 8, 2007, 12:52 p.m. CST
by The Funk
It wasnt a huge step away from Elfman's work, which helps continuity from 1 & 2, but I did feel he over used Elfman's Spider-Man theme every time Spidey appeared. Could have saved it for the finale, it would have meant more.
June 10, 2007, 3:42 p.m. CST
by Munro Kelly
I'm a HUGE fan of Danny Elfman. I was sad about him not returning and the circumstances that lead to it. That said, I think the music in "3" worked well. The established themes were present and the new music worked well. I've been following Christpher Young's work since "Hellraiser". I think that Christopher Young is a great talent that never really got the industry love he deserves.