Cool News
MTV knows who is scoring McG's TERMINATOR: SALVATION!!!
Ahoy, squirts! Quint here. MTV has spoken with one Mr. Danny Elfman who revealed he's scoring the upcoming TERMINATOR: SALVATION.
Now, I'm no Elfman hater... In fact, I've been listening to his Burton work a lot recently, especially BEETLEJUICE. His BATMAN score, PEE-WEE score, NIGHTMARE BEFORE CHRISTMAS score and music and BEETLEJUICE score are all in my favorites list, but his more recent stuff hasn't impressed me too much. Stuff like his SPIDER-MAN score is fine, but not epic, if you know what I mean? I'm sad there's no great SPIDER-MAN theme you walk out humming, which is what I think Elfman used to do very well.
Brad Feidel's original Terminator score is simple and very '80s, but iconic and memorable. His T2 score is much less dated, but kept the iconic themes and the metal on metal clanging that I love so much.
I don't want Elfman to just repeat Feidel's great original scores, but I hope he can capture that iconic and epic feeling. What do you folks think?
-
+ Expand All
-
Danny Elfman stuck a flute in my pussy.
-
It hit me after a few listens, Spiderman has a classic, powerful theme. Sure it's not Raiders March but it's a strong, sweeping theme. I whistle it often, anyway.
-
second or third we will know soon!
-
for about ten years it seems like. His 80's early 90's stuff is nothing short of brilliant tho.
-
the movie's score is the one element of T2 that has stood the test of time the best. I hope Elfman manages to produce something equally as memorable.
-
I mean come on, Besides Batman and maybe one or two others, who can tell the difference between his scores? I don't see his silly, bombastic style working in a Terminator movie. Anyway, isn't his asshole buddy remaking Alice in Wonderland? Go score that. Bring back Brad Fidel. The only thing dated in his score was the Casio synthesizer.
-
Dead Man's Party. It's been downhill from there.
I loved how Family Guy capped on him, the Blue Harvest episode. "Aw crap! Now we gotta finish this thing with Danny Elfman!" -
Update the coolness of the old score and make it feel fresh.. I like it.
-
That main theme from PLANET OF THE APES: SHIT REMAKE is fuckin' awesome. Lots of percussion and synthezisers... The rest of the soundtrack is not so good, but that main theme is TITS. And something like that would be perfect for this. Although, as Quint says, Fiedel's score was genious.
-
OOM PAH-PAH PAH-PAH
OOM PAH-PAH PAH-PAH
OOM PAH-PAH PAH-PAH
yeah just imagine the classic terminator riff done in dark carnival oompah style. not so much.i know elfman is capable of more. i don't think we've heard him do solid, futuristic, clanging stuff before though. if he makes it dark, bleak and memorable, good for all of us. hope so. -
Can you imagine watching the Terminators tearing up the place with a Bear McCreary score behind it. Dammit!!!!!
-
McCreary is solid on the TERMINATOR: SARAH CONNOR CHRONICLES and, of course, BATTLESTAR GALACTICA.
Or do you need to listen to "Storming New Caprica" again?
-
yeah that was pretty good and appropriate, i forgot. i try to block that movie out.:/
-
He rocked the house with Into the Wild.
There's a biiiig, a big hard robot. Killing all of the people,
Except John Connor -
Damn! The more I think about this, the more dissappointed I get. Bear's scores are ALWAYS epic. He can make you feel hope, dispare, fear, surprise and anxiety. He can hit all the notes.
-
i mean come on its not like Fiedel would've been hard to get. and elfman has lost it. too much bass guitar.
-
That's where McG got his start! With cool bands like SUGAR RAY. Yes, SUGAR RAY. I sure as shit thought the guy who started his career with Sugar Ray could work on Cameron's level.
-
I think as long as Elfman pulls from past themes...and gives it that industrialized sound (however you want to describe it), utilizing what sounds like metal tools and such, then it's all down hill from there.
-
The Spider-Man score is awesome, what are you TALKING about? The rest you mentioned are amazing too. I just can't see Elfman doing Terminator....even though I love him.
-
...that score IS TERMINATOR...and it never fails to make my short hairs stand up and my balls tingle a little bit.
-
Seriously. Hulk was his best score since Batman.
-
but now I really think its overall really really cheesy and starts to annoy me pretty quick. Like cheesy pop songs. Also, Spidermans theme didn't annoyes me as much as his Batman work, which is utter garbage (except for the animated version of the theme which is basically based on his). I really would've liked a more serious and noisy approach to the terminator score. just like tdks score. noisy, grown up and un humable. Just what I like.
Oh and I like elfmans stuff in nightmare, but since this is a musical it has to be cheesy- terminator not so much. -
Ever watch Terminator: SCC? Whenever they evoke the T2 theme I get chills! So awesome
-
He's that awesome. He's fucking McG dammit!
-
That's what he does now, apparently. He replaced Beltrami for Hellboy II (bad call, the memorable themes of the first were lost) and now is replacing Beltrami (who did T3) for this (good idea, since T3 had a shit score).
-
but the theme was there and it was epic.
-
You've gotta be kidding. Danny Simpsons/Desperate Housewives/Spiderman-trying-hard-to-sound-like-Batman/I'm-actually-Tim-Burton Elfman?? Was McCreary busy or turned it down??? You're LOSING US, McG.
-
I'd even prefer Brian Tyler over Elfman. At least he knows how to pay respect to earlier themes, as in Rambo. I can't see the Terminator theme popping up in Elfman's score no matter how hard I try to imagine it.
-
You fanboys are relentless in your hatred of McG. Seriously, what's the deal? He picks probably one of the top 4 geek composers of all time and you are whining? If he hadn't picked Elfman this talkback would be filled with people asking for him. And as for McG? So Charlie's Angels was silly fun. But We Are Marshall is a great dramatic sports flick and he was behind the lens for that one. And don't forget he produces one of the most fan loved shows on TV right now Supernatural. Give the guy a break and stop the hate for a movie that so far looks pretty good.
-
What the hell happened to Brad Fiedel?? Is he still alive? Does he even do film scores anymore?
-
Some of his stuff sounds too blase, like Spidey, Hulk, and Hellboy 2. But then he busts out that Charlie and the Chocolate Factory/Mars Attacks! type of weirdness, and it's on like the proverbial Donkey Kong.
-
While I'm no fan of the show, when I hear that theme wherever, I know exactly where it's from. This job should be easy for him since it's an action movie about robots where 75% of the score is previously used stuff. I'm sure he could do this in his sleep. And I'm sure it will be better than Marco Beltrami's T3 score which fucking sounded like every Scream movie he has done.
-
Makes sense now since he used the same Nick Cave song in Scream 1 also.
-
At least with me. My opinion on this matter has absolutely NOTHING to do with McG. Honestly. It's just that I'm a big fan of McCreary and his style. He has proven himself to be great in this genre (BSG, T:SCC, etc). His use of drums, winds and some rather "rare" instruments are perfect for this movie. The "bum, bum-bum, bum-bum-bum" and such.
-
that was the first I'd heard of him as a kid, and I went nuts for the music in that film. so perfect!
-
I'm not a T4 hater. I just think Elfman has been pretty weak in recent years.
-
Check out the Success Montage track on the Wanted soundtrack. It's probably the best thing he's done since Sleepy Hollow or since he stopped working with Tim Burton.
-
We ALL do. She got the most punch of out of his best scores. I'm not really crazy about his Spider-Man theme either, but I'm not sure why it doesn't work. It's hummable in places. It tries to be sweeping in other places. But for all of that, it sounds like a lot of his other scores. I do miss his work on Batman, and it bothers me that such an iconic theme has been thrown out. Just be glad we have the scores we have I guess, not craving the ones we don't.
-
...unlike that fuckwitted T3 score.
-
LOL...i totally just sung that in an eddie vedder voice...hahah
-
and didnt he do the Hulk one too? i liked that one
-
It really is. The main theme, anyway. There's some weakness in the rest of the score but the main theme is genius. Not as epic as Batman, but more interesting and moving musically.
-
I cant wait.
-
Flaw.Less.
-
... when he was asked to copy Christopher Young on Spider-Man 2, I suspect he won't want to emulate Brad Fiedel and we'll get another weak ass score that ignores the classic themes. Just like Beltrami's piece of shit score on T3. Plus, Elfman's not been on top form recently. I don't think he's got the killer instinct he had when he was first starting out.
I'd much rather they got someone to emulate as many of the original themes as possible. Like what Ottman did for Superman Returns, he properly integrated great new cues alongside the classic themes. The film might have been shit, but the score was excellent. T4 needs someone to do the same.
Is Fiedel dead or retired or something? Why can't they just use him and get it right first time? -
...know what you mean. Saw the first season and liked it quite a bit...plan to watch season two on DVD...
-
Wardrums and Enya la-la? No thanks.
-
The most over-rated composer in film today. Ugh. McG, first I'm down on you. Then you give me some hope (Bale). Then you bring me down (PG-13?). Then you bring me up (trailers looked good). Now this. I wonder how Elfman will use his bouncing, overly-symphonic style in this one.
-
One of the best scores he ever did was Good Will Hunting. No superheros or emo claymation, and sounded so totally different from what I'd expected from him. His work on the Batman flicks still holds up, too. The Hulk score barely registered with me(I was too busy bitching that there is STILL no live action actor playing the Hulk...if they can shrink Hobbits and make Ian McKellan 8 feet tall, why not a living breathing actor to play the Hulk???) But I dunno...we'll see what Elfman can do.
-
Not a clue what he'll do for this.
-
No other tv show has even come close to greatness than Bear's BSG. TSCC is pretty frackin' good as well. Elfman doesn't even have the talent enough to turn Bear's pages on his music stand.
-
I like Elfman's scroes but his work is very distinctive and has an Elfman feel to it. I don't understand why they felt the need to not get Fiedel. Was his schedule full? Doubt it.
-
A soul patch backwards baseball cap wearing douche got his hands on the Terminator franchise, a hugeass budget, Stan Winston's last work, Christian Bale, a script by Christopher Nolan, and delivered a trailer that looks like utter banal over CGIed middle of the road mediocrity. It's not even that T4 looks bad, it looks competent. And with those elements in place, to deliver something unmemorable is just pathetic. Remember the T2 factory teaser? That thing made everyone in the theater in 1992 or whatever shit a BRICK. The audience went crazy. And McG's comments on this movie have cracked me up - who gives a fuck you're doing a silver retention bleach bypass. How are the actors? What are the themes? What do you have to say about mankind's destruction and the fact that we coexist with machines? SWEET FUCK ALL cause while Jim Cameron was digesting - in his own words - too much weed dreaming up space battles in his head building a beam splitter in his living room - McG was hanging out with Sugar Ray. I'm fucking sick of these jocks trying to crash our geek party.
-
Yoko Kanno.
-
Too bad about the movie itself.
-
You gotta get me that Cameron quote
I'd love to see him saying that -
Everything you said was right on. And that T2 trailer was amazing (still is). Probably the best trailer and reaction ever.
-
But it could've been worse. alot worse. like, marcobeltramiandbriantyler-worse.
-
...sent back through time, that is.
-
It's shite.
-
Jan 09, 2009 4:37:49 PM CST
[insert obligitory "Elfman writes the same score over and over"
by nasty in the pasty
-
the rest of the ones i'd use the negatives as toilet paper.
-
can Elfman do it?
-
Elfman hasn't done anything interesting in more than a decade. What a bland choice. Even at his peak I don't think Elfman's sound is suitable for Terminator.
-
Then Christopher Young replaced him for Spidey 3 (though Elfman came back to collaborate later). I don't quite understand your post.
-
Jan 09, 2009 5:19:21 PM CST
Elfman? Fuck That Shit! Hire MERZBOW, NEUBAUTEN, and GLENN BRA
by laserpants
I bet if those guys got together, they could come up with some seriously hardcore dark future awesome. Oh, but who the hell am I kidding, this movie isn't going to be bad-ass and weird and scary, it's for the masses. It'll be better than T2: WE WUB WOO ROBODADDY, of course, but what movie isn't better than T2: OLD ROBOYELLER / WHY DO WOO CWY?
-
... immediately think of Jennifer Conneley and the last montage in Requiem For a Dream. "Ass to Ass?" "ASS TO ASS!"
-
Are you sure about that? That soundtrack wasn't spastic like his stuff usually is.
-
Was pretty much the only scene in Requiem that was worth watching. Other than that, the only thing it has going for it is the Kronos Quartet soundtrack exploding avant garde awesome all over the last 20 minutes...
-
And anyone who thinks that Elfman's scores all sound the same, either clean the wax out of your ears and listen again or kill yourself. Either one's fine with me.
-
Jan 09, 2009 5:34:06 PM CST
Yea. Elfman did Spidey 1&2. How could you guys not know that?
by blindambition238
It has him stamped all over it
I'm very disappointed in you.
Please turn in your Talkback badges and bottle of pent up fury. -
In a TB about film composers I am sure surprised to see that no one has mentioned one of my all time favorites, James Horner. This guy has woven some of the most brilliant musical tapestries I've ever heard in film. And I don't wanna hear any bullshit about how he doesn't do sci-fi films because his score for James Cameron's ALIENS was MIND BLOWING. He would do an outstanding score for this film. He's the one I would have picked. Not sure if he is composing anymore, but his shit is always brilliant. Glory, Braveheart, Titanic... just to name a few.
-
I happen to sort of agree with you on this one. And I'm glad that Connely was the image I put in your heads.. but I was going for McG and Elfman
-
Jan 09, 2009 5:34:35 PM CST
I think Elfman is as good as the director allows him to be...
by cokemachineglow
Tim Burton gives him the freedom to experiment and try out any crazy thing he wants. When he's working with a boring director who expects a typical Hollywood score, Elfman delivers it. I don't know what that will mean in the case of McG though.
-
Whoever said Elfman's stuff all sounds the same... that is not true at all. Elfman's music requires a sharp ear to appreciate. Almost all of his themes are unique and epic. Edward Scissorhands, Beetlejuice, Batman, etc.
-
I'm sick of that stupid 4 note motif that was General Kael's theme in Willow, but now he has it in EVERY movie. He singlehandedly murdered "Troy" with his score. He did some brilliant stuff back in the day (Star Trek II, Willow, and Rocketeer) but he is the most repetitive composer in film history.
-
Danny, being in the music industry for a long time, has a good catalogue of musical background that he can draw from to do this soundtrack. However, I would love to see Elfman work in conjunction with another artist more experienced with the "post-apocalyptic industrial sounds" found in the original score by Fidel. Some examples would be, well, Brad Fidel himeslf, Bill Leeb of Front Line Assembly and Delerium, Kevin Crompton (cEvin Key) of Skinny Puppy and Download, Trent Reznor of NIN who has helped score soundtracks before or Brian Williams of Lustmord who has worked with Graeme Revell, Coil and Tool. Many albums these days are 'remixed' by various artists and to hear a soundtrack done in this way would probably help bring the Terminator franchise into the modern 21st century.
-
So there. Alice In Wonderland is perfect for him too. But T4? Don't know. Hopefully he does T5 and T6 if they happen, so he can build up a trilogy of themes.
-
with collaborations with, that OOOOHHH WAH WAH AH AH AH guy. Cause bodies WILL hit the floor!
-
I regard, and I mean this whole-heartedly: Brad Fiedel's score for Terminator 2 is the joint top score for me of any movies ever, standing only next to Howard Shore's LOTR scores.
Doubters, go on youtube and listen to 'Goodbye' and 'Trust Me' Most composers would go wide-eyed hoping to match that. -
I wanted Clint Mansell and Kronos to score a Batman movie. Alas.
-
If so, Elfman is tying up the line.
-
Every time Christian Bale is on screen. Imagine. That would be fuckin awsome.
-
Premiere magazine when True Lies came out (pre Titanic!) that before he was a filmmaker he spent a few years with his physics degree driving trucks doing fuck all with his life, drag racing a car, smoking weed and dreaming up space battles. I swear. He may even have mentioned reading fantasy novels. And he said something about becoming obsessed with films and building a beam spliter in his tiny apartment and his girlfriend thought he was losing his mind. It is a known fact that Cameron's first ambitions were to be a comic book artist.
Respect.
-
But his musical scores are for children. And the "Terminator" franchise is not suppose to be for children. And Elfman's scores are all the same, and not 100% epic. Atleast Hans Zimmer can create some epic/badass scores.
-
...well, he does. And someone mentioned Horner. He at least has two sounds. The Star Trek 2/Aliens/last scene in Die Hard sound and the Braveheart/Titanic sound.
-
is that he gave up on commercial film scoring some time ago as it's a truly difficult thing to do in terms of dealing with the studios.
As I recall, he had no interest in working on these big films again.
As for Elfman doing the score (and notwithstanding that the Batman theme is the beginning of Herman's Journey To The Centre of the Earth score), he could do well. Planet of the Apes did have a good score, and he's done some smaller films that sound very different from the Pee-Wee style stuff (Wisdom, Instinct, Midnight Run, Dolores Claiborne - which is awesome - Red Dragon....)... so give him a chance!
Let's face it, the whole movie is at least unlikely to be as BLAND as T3 - which looked like a shot-for-TV movie a lot of the time in cinematic style (or lack thereof). -
do this thing with Danny Elfman.
-
Get cliff to do it! he's the SHIT!!!!
Traffic anyone? solaris???? -
All the tone-deaf fanboys who are bitching about Beltrami's score to T3 in comparison to Brad Fiedel's stuff need to dig the shit out of your ears and actually listen to the T3 CD -- it's got tons of dynamite music supporting a weak film. Fiedel did exactly one (count them -- ONE) memorable theme for Terminator 1 and 2. That's it -- that's what you're remembering as you spew out these knee-jerk hate reactions to Beltrami's superior music. The rest of Fiedel's Terminator scoring consisted of cheesy, Casio-sounding action music in the first film, and pedal-point drones and sound effects in the 2nd. Beltrami's T3 score has actual themes, punchy percussion and an honest-to-God orchestra (augmented with synths.) On top of that, the guy was a student of the late (and utterly brilliant) Jerry Goldsmith, who wouldn't suffer fools if they couldn't do the job. If you guys think that a Terminator movie "score" should consists of endless repetitions of Fiedel's original theme, then that's pretty pathetic. As for T4, Elfman is a constantly-innovating composer, and I suspect he'll do a great job on the film -- so bring it, Danny. I'll be happy to listen to your work.
-
and no matter how optimistic I might get for this thing, theres slim chance it'll be as good. T4 at the minute functions on two levels-either it'll be shit, or it'll be alright-thats the mc G way
-
Danny Elfman is sort of old hat. He is the gothic cute Tim Burton progeny. McG needs the services of the new breed. Clint Mansell(The Fountain & Requiem for a Dream) would deffo make the score something to remember while John Murphy(Sunshine) would be the second best guy for the gig. Anyone notice how many temp score trailers out there use The Fountain score or Sunshine for their emotional first impressions? The clang clang 80's/90's metal sound is a great thread, but today's sound cues are so much more refined and sophisticated. Take to the next level, McG and take a chance on someone who can actually read music...yes, Danny Elfman has someone to read music to him.
-
For that matter, McG is too whimsical as well.
-
Dear Trash Basura,
It's Jon Brion, Not John Murphy, you stupid, STUPID fucking asshole.
-
His shit is too silly for T2, you wanted the fans, Fiedel you shit cunt.
-
sucked balls it was no where near capturing the awesomeness of a character as iconic as spider-man 9 out of ten people can recognise the superman theme fuck all out of a fuck lot of people would be able to recognise the spider-man theme. it was half assed at best
-
His scores were the worst part about both Hellboy II and MILK.
-
Yeah, Sommersby, Black Beauty, Dolores Claiborne and Charlotte's Web all sound EXACTLY THE SAME as Batman, Beetlejuice, Charlie & The Chocolate Factory and Planet Of The Apes. Go fuck yourself. We should be GLAD that Elfman's still scoring movies considering how many of the greats have either been dying or retiring over the past six years (Goldsmith, Bernstein, Barry, Jarre, ect). Would you rather be listening to fucking Steve Jablonsky?
-
IMDB your facts before you go sad white trash closet case on me, ok. I know who Jon Brion is and he did not score Sunshine. John Murphy from Underworld did. If that makes me stupid that makes you typical. Go get a tattoo, a t-shirt from Hot Topic, plan a hate crime, hit a girl, get a part time job at Best Buy and jerk off to pix of your mom. Her spread eagle shots always do the trick.
-
In case you don't know how to spell IMDB, I went ahead and copied the link, so you and all your astute colleagues of this site can see what a stupid stupid asshole I...err, I mean you actually are.
http://www.imdb.com/title/tt0448134/
check the composer of the score then insert your witty Kevin Smith like hate fueled comeback. Don't go off on someone you don't know...and especially don't when you are fucking ignorant of the truth. When you delivery my pizza, you ain't gettin' no tip...ya feel me, dog? Wannabe bad ass hides behind his PC and attacks without merit or provocation. -
Was overall pretty good. He definitely disappointed when it came to giving Spidey a hummable theme, but everything else was great. I mean, the love theme? Fuckin great.
-
unless you heard it a lot of times. the theme is complex and beautiful. I thought it was right up there with superman and batman. I had goosebumps when it first kicked in when I saw it in the cinema. It sounds liek a spider weaving a web if you want my take on it. before it has those solid strings wiht out the drum parts. it sounds like it it's being weaved. I was like wow theres alot of things being played in this song all at once, and they shouldn't work together those with the drum beat, but they do. I don't get the hate it was different and yet still iconic. Whatever haters...
-
...as McReady...
-
I can just imagine what Murray Gold (of the magnificent [IMO] Doctor Who score) could do with this *drools*. He's quickly become my very favorite composer, and he knows how to do dark/haunting.
-
I love Danny Elfman. I have always liked his scores. My personal fave is a toss up between Edward Scissorhands and Good Will Hunting. His scores are rich, deep & steeped with dense layers of unique tones and chambers. But, I also love other composers. Hans Zimmer, Howard Shore, The Great John Williams etc. and so on. It is not hate that makes me think another my be better suited for the gig. Music is a powerful tool and we all know a poor score can kill a movie. I remember the Punisher(Thomas Jane version) and sitting there squirming in my seat at the horrid score cues. God awful. The X-Men. Terrible, unremarkable score. A good score however, you equate with good measure parallel to the film itself. Jaws. The Godfather. The Graduate. Hell, The Joker theme in the Dark Knight knocked my socks off and it was one elongated pitch/sound/whatever...it was awesome! When I think of the futuristic Skynet ravaged world of Terminator...I don't think Danny Elfman. That's not hate, but a point of view of forte. Elfman's forte is not that. He will rise to the challenge for sure, but it seems like a lack of vision on the producers behalf. It's like them casting a villian and saying "Gary Oldman",,,yeah, everyone knows he's a great villian, how about someone who will coma along and blow our socks off you don't expect and it is their forte.
-
Almost all of his scores sound the same. I'm getting tired of hearing "Darkman" over and over again. Thanks for making a terrible choice, McG.
-
It's iconic, epic, completely memorable. The SECOND it comes on there's no doubt what's going on. I'm not sure Elfmans style flows with it...seems like it'll clash with it more than anything.
-
When I think "Terminator," I don't think of Elfman. It's like asking Hans Zimmer to score "Unnecessary Roughness."
-
Hellboy 2 score was pretty good. Better then the first one. And Spiderman had Hero. Shit not even Ironman was given proper treatment with Ironman.
-
One, he loves his percussion, and the most recognizable part of the Terminator music is the metal clanging. He may even experiment with banging trash cans and striking anvils or whatever.
Two, he is a versatile composer. Sure, he has his fallback devices when he does a Tim Burton film, but that's the nature of Tim Burton. He also did Red Dragon, he made the first Hulk film palatable with his music, the Notorious B.I.G.... and on the list goes.
Three, for a kick ass blockbuster of a movie like this, he's the man to go to. Besides superhero movies, I think he did one of the Mission Impossible movies and a war movie or two.
Bottom line, it'd be a mistake if he were scoring a drama like Rachel's Wedding, not an action flick. -
Has nobody heard this? It's a long composition he wrote to be performed in a concert hall, and is AMAZING. If anyone things Elfman has no range or makes a laughable comment like "his scores are for children" then they really need to do their homework. Errol Morris used part of this piece in STANDARD OPERATING PROCEDURE, and it works very well.
-
Elfman scored Milk. Does that sound like Batman?
-
James Horner is working on Avatar. Tough choice he had there, work with the director of The Terminator and Aliens or with the director of Charlies Angels and Charlies Angels Full Thottle.
-
FAMMIT
-
McG is a fucking hack. And I wouldn't count on the movie capturing any epic or iconic feeling either.
-
This is the true reason for fanboy hatred. Jealousy, pure and simple...!
-
IIRC during the making of Spider-Man 2 Raimi used a temp track from Hellraiser 2 for a Doc Ock scene. When Elfman wrote his cue for that scene, Raimi rejected it saying it wasn't enough like Christopher Young. After a few retries that Raimi was still unhappy with Elfman quit the movie, telling Raimi if he "wanted Christopher Young he should get fucking Christopher Young". So Raimi did. But even then Raimi wasn't happy with the cue Young produced. So they eventually just paid to licence the track from Hellraiser 2! At the start of making Spidey, Raimi and Elfman weren't talking (which was a shame as they'd been working together on films for years) so they hired Christopher Young again. At some point Elfman swallowed his pride and apologised to Raimi and he was back in for Spidey 3. (Apologies for any weird typos and lack of paragraphs, but I'm typing this out on the iPhone and it's slow work!)
-
cause like, it's just like listening to Hans Zimmer or Harry Gregson Williams or Thomas Newman, but condensed into more retarded versions of what they do that are far more obvious. Man, the Transformers temp track was the most obvious thing in the world.
-
You are losing us man, not that anyone hate Elfman, it's just that it's a bad casting... Elfman is good for scoring Burton like Dark Disney nightmares with happy go lucky themes, he isn't in mastery of synth and drum machines... you should have gotten Alan Howarth, he is the one who wrote the ESCAPE NEW YORK THEME that Brad Fiedel copied for T1 and that worked so well. Plus he is cheaper ! Elfman will get an orchestra and fill the movie with rejected tracks from SpiderMan
-
Or, reassure us that this soundtrack will be SYNTH based and not Roumanian Orchestra.
-
This is the worst news I heard for this movie.
-
T3 was a good score? Admiral Nelson you have no fucking clue. Marco Beltrami is a fucking hack and all of his scores suck to high heaven, especially T3. Elfman will make a score about ten millon times better than that hack.
-
Jan 10, 2009 4:02:16 AM CST
Sounds more and more like a clusterfuck of epic proportions.
by motoko kusanagi
We have: --McG, a mainstream hack --Very likely a fucking PG-13 rating --Danny Elfman instead of Brad Fiedel (OMFG!!!) --Terminators with Jay Leno chins --Silly big ass Tranformer-Terminators (man, did the makers of T4 ever saw ONE SECOND of the future war sequences in T1 and T2?!?) and two underwhelming trailers --No ArnoldThis doesn't sound too well, guys...
-
Nothing gets them panties wetter than a post-Singularity dystopic action shooter, I tell you what.
-
Who doesn't get chills when Peter clenches his fist in Spidey 2 when Doc Oc has just run off wit MJ? Its like "here we go!!"
hell, I've got the theme in my head right now! -
Jan 10, 2009 6:15:20 AM CST
Interesting. I just hope there are no trademark choral "ooo"s a
by mr nicholas
-
Jan 10, 2009 6:27:10 AM CST
McG, everything on T4 was going so well untill I heard this.
by ilovemichealbay
Brad Fiedel was the only option for this film, or maybe even Hans Zimmer. I've got nothing against Elfman, but i don't think he is right for Terminator, just like the other guy who scored T3. McG you are a(please insert any swear word of your choice)
-
Christian Bale and Danny Elfman. That's it, folks.
-
I think Harry-Gregson Williams would've knocked this one out of the park. His score for Metal Gear Solid IV and the other games in the series were fucking phenomenal, and it was the kind of phenomenal that this movie could've definitely needed. Elfman should stay far away from this project.
And, by the way, Elfman's theme for Spider-Man astounding. I think in due time, I think it will eventually become as iconic as the superman and batman themes; as someone said earlier, it's a complex composition, but it's so grand and visceral that ironically, it perfectly evokes what comic movies are all about.
-
his Batan score was better than Zimmer's, paticulalrly if you compare to the music in Begins. Don't get me wrong, I don't have a problem with Zimmers work, but none of the songs there were memorable (except that building leitmotif for Batman which was, what,two notes?)whereas Elfmans score was instantly iconic and recognisable anywhere (you even instantly recognise the cues shoved in that piece of shite, the spirit). Zimmer did fare a bit better in TDK,and had some great cues (that little sad piano bit we get during he interrogation and in the hospital is fantastic if you recognise what he's doing with it too)and while Why So Serious is used well and is really atmospheric, the "buzz"opeing sounds EXACTLY like the broken fluroscent light in my bathroom...which isnt a bad thing, cos I can pretend Im the Jokereverytime I take a piss now.But Elfmans score for the planet of the apes redhash was the best thing in i, and the Beetlejuice score is one of my all time faves.That said, he doesnt seem suitable for Terminator, but Ive got enough fingers crossed for this thing, two more wont hurt.
-
sorry for some of the spelling mistakes there, I really needed to "take the kids to the pool" if ya know what I mean...
-
piano accordions!
-
Is Brad Fiedel still working? He's probably free now that Fright Night remakes been cancelled! Elfman's a bit generic these days.
-
is not an action movie scorer. In fact, Elfman's music only ever seems right on a Tim Burton movie. Pee-Wee, Beetlejuice, Batman, Scissorhands, Ed Wood, Mars Attacks - all great, wacky scores. T4 is going to be a total piece of shit. But you all know this anyway.
-
A work of genius, especially the main theme, the canal chase music, the music when the SWAT team attacks Cyberdyne - the whole goddamn thing basically.
-
Jan 10, 2009 7:41:57 AM CST
Has anyone heard is score for "The Kingdom?'
by second cousin of phartegod
It's made of toilet.
-
total shame
-
...and I'm gonna LAUGH at all the LOVE shown on this site, after all this HATE has passed. It's amazing (to me) that people don't have a sense of the talent at work. I'm probably the biggest believer in McG and this project. And with the "score" history of the TERMINATOR franchise (to pull from), I'm expecting Danny Elfman to create some of his finest work, ever.
-
...which is (if only partly) why they LOVE the challenge this movie offers. I really do believe that this is going to be something special.
-
IT'S OVER MAN... "YOU'RE TERMINATED FUCKER !" YOU JUST DESTROYED JAMES CAMERON LEGACY.
-
DAMN YOU MCG !
-
Elfmann if challenged could actually break out of his current rut and turn in something unique with T4. Big fan of his earlier work and I personally love his score for POTA; I think a similar fusion of agressive industrial perc and synth/sound design with a strong orchestral motific thread (hopefully incorporating Fiedel's theme) could be pretty effective. I'm just hoping it's not going to be a stock Elfmann orchestral score he's going to fall back on. A lot of composers get a bit jaded from time to time and fall foul of self-repetition and dialling in a formulaic score. I hope Elfmann has the time and the creative passion to break some new ground here and deliver something original and in keeping with the established style brillaintly set out be the sadly underated Fiedel.
-
But I suspect too much of gamble for short sighted studio suits. A corssover of NIN style industrial mixed with orchestral textures (he could easily hook up with some talented orchestrators ala Event Horizon with Kamen and Orbital)that IMHO would be awesome. If only...
-
But seriously, whoever said McRready should fight Terminators was half right IMO. Carpenter and Ennio Morricone did a great job on The Thing - reunite them for this!
-
McCreary's music for the new TV show at least sounds like he's invested in the mythology of the franchise. He says he's a fan of the original two scores. T3 didn't feel like a sequel and the music had a LOT do do with that, but in general that movie just had its head in the wrong place. I want T4 to rock but I fear it will be more like T3 than the originals. How is it that the drastically different TV show somehow feels more like a continuation of the original story than T3 did? Well... at least they got the MUSIC right. DUNT-DUNT DUNT DUNT-DUNT, DA-Da-Daaah... DA-Da-Daaaa, baby!
-
just liked typing that so much the first time I had to type it again.
-
but his T-music themes shouldn't be. Yeah, get McCreary! He's the new king of martial science fiction percussion of pain! Hmmm, come to think of it, Battlestar uses pounding drums in a show about relentless killer robots too... yeah, get BEAR!!!
-
Jan 10, 2009 10:00:37 AM CST
AND... I read that Cameron was urged not to use Feidel for T2
by catbarf the 12th
because for T2 they had all the money they needed, and a big reason Feidel got the T1 gig is that he was unknown and cheap. But Cameron wisely noted that a big reason T1 was so effective was (DUH) Feidel. So he insisted. I see subsequent directors of the franchise of Cameron's mind-child have shown no such wisdom. Elfman could be good. But god please NO SACHARINE ORCHESTRAL STRINGS, this isn't frikkin' Fantasia you guys.
-
There's a gulf between 2 & 3. The TV is somewhere in the middle, but the gulf's so big there's plenty of space for T4 to be much nearer T2 than the show and T3.
-
Start there Danny. But please hit more metal things.
-
if he wasn't a talentless cunt.
-
I like Danny Elfman scores well enough, but they're always Danny Elfman Scores with a capital Danny Elfman. I totally vote for Bear McCreary, his Sarah Connor Chronicles work does the job already. And of course the BSG score is marvelawesome.
-
he can do something unique depending on the project. Red Dragon, A Simple Plan, and A Civil Action sound unique compared to his regular work. My guess is this won't sound like the typical Danny Elfman score.
-
Sometimes his lyrics get in the way of his music, but the man has talent and has carved out a nice niche in the pop-industrial genre. I believe he did the score for Quake so I would be interested in hearing him do a score for a film. Rock musicians doing film scores can produce interesting results.
-
fIEdel, NOT fEIdel
-
Awesome film composers!
-
Jan 10, 2009 11:58:16 AM CST
Agreed on Reznor. Would be great choice, recent stuff solid
by stormwatcher
Enjoyable return to form. I hope this doesn't be the Desperate Housewives become Desperate Sufragettes in part 2.
-
... touching myself. Greatest musical artist of this century. "Year Zero" is not for pansies. If he did T4, I would be on the ticket line now, even if Uwe was directing it.
-
YOU SHOULD HAVE GOTTEN FIEDEL, YOU ARE FULL OF SHIT, I DON'T BELIEVE A WORD YOU EVER SAID HERE ON AICN YOU ARENT A FAN YOU ARE AN OPPORTUNIST RAPING THE TERMINATOR FRANCHISE
-
given that most of your posts here reek of the babblings of a hydrocephalic baboon whose suffered from syphillitic experimentation rendering both testes and psyche null and void of perception, no wonder you're McG's biggest supporter. Maybe if you search on Amazon you'll find the Fastlane box set and drool to your heart's content.
-
than his usual Burton-esque trilling violins stuff. Hell, I even thought Kingdom's music was by instrumental indie-music mavens Explosions in the Sky (Berg used them in Friday Night Lights), but it turns out it was Elfman. If he sits down and really listens to that Terminator 2 score then maybe Elfman can wrap his head around what music about killer robots from the future is supposed to sound like. He may, MAY, pull this off rather well. (the T1 score has good instantly iconic melodies but a bit too Cassio-80s at times, which is why the T2 score is so much better because it has that fucked up synth quality for whenever the T-1000 shows up but the less dated more epic music for the Terminator stuff. By the way, my favourite quote about Brad Feidel is on a Terminator SE DVD and Cameron is talking about how they literally had zero money left so they went to a guy in his garage to do it, and Cameron says, "Well, it was a COOL garage, though.")
-
Jan 10, 2009 3:35:38 PM CST
One has to wonder if McGinley is shitting his pants reading this
by pissed off and bitter
Sorry, I refuse to support calling the man McG. But seriously, I wonder, because he does read the Talkbacks. Is he going "I FUCKED UP!! I HAD THEM AND I FUCKED IT UP!!!" or is he quietly optimistic that Elfman will deliver? Me, I'm not sure what Elfman will do but he HAS to get his shit together for T4. And I'm talking Batman 89 iconic score here. Otherwise I believe the geeks will relegate him to hack status. McGinley, however needs to prove why he gets to make movies still with this show. If he fucks it up, seriously, he'll be making B movies with Russell Mulcahy.
Ok, and now just a note to Joe McGinley from me to you, seriously dude, you can't fuck this up. Put everything you learned and then some into this movie and make DAMN sure that it's the very BEST product you put out because your ass is on the line here. Your credibility, as newfound and fragile as it may be is on the line here bud. You do this right and you'll be respected here like Nolan, Fincher, and Stallone. Reach out to the fans, don't be a defensive dick, have some humility. -
Reznor's a true originator, defined his own genre, a multi-instrumentalist and awesome programmer responsible for some truly groundbreaking production and constantly evolving the NIN sound. Often copied but never bested. Ironic_name is evidently no arbiter of talent, but I can detect a low brow, cynical TB baiter quite easily.
-
How much visceral impact did that title sequence have? That for me was a perfect pairing of cutting edge montage and a seriously atmospheric piece of underscore. Well that music was a mix Reznor's Closer from Downward Spiral. If the likes of McGinty were brave enough to go out on a limb and hire Trent Reznor for T4 the result would be anything but a formulaic and pedestiran orchestral action score. I'm sure Elfmann could deliver on this but he'd have to raise his game and avoid the pitfalls of over orchestrating and opt for something more experimental.
-
The point is McG is pretentious however you slice it.
-
alright, i like NiN as much as the next guy, but Reznor does not have the skills required to score a movie like this. honestly, 2 hours of terminator with a score that sounds like NiN is not only a bad idea, but its way worse then Elfman scoring it.
"great musical artist of this century" are you fucking kidding me? even if you just take "popular" music, he's not even close. at least 20 jazz musicians blow him out of the water so badly its not even debatable. take out jazz and just talk about popular music? he's not even close. -
he's not bad by all means but I just don't think he could pull this off. I do like the idea of Harry Gregson Williams, Metal Gear Solids music is perfect. Horner? Goldsmith? I'm sure there are other more perfect composers than Elfman, I don't dislike him but all I can hear is his whimsy which like others above have stated is perfect for Burton.
-
As I mentioned earlier I think more along the lines of him collaborating with an orchestrator or composer would work best, as he had previously (to a lesser extent with Hans Zimmer). Just because someone comes from a *Pop* music background it doesnt mean they're incable of scoring for film, NEWSFLASH Alan Silvestri, James Newton Howard, Michael Kamen, Ian Livingstone, Clint Mansell, Damon Albarn and yes Danny Elfmann all established themselves in rock bands - negates the glib assumption that rock muso's are incapable of writing orchestral scores. CIP Michael Kamen collaborated with Orbital on Event Horizon and turned in some great cues for that film. Texturally I could imagine Reznor's gritty industrial breaks, distorted DI'd gtrs and synthesised textures integrated into an orchestral score. Better yet a collaboration with a MV school style composer such as Harry Gregson Williams, Klause Badelt, John Powell or Zimmer would make perfect sense; these composers draw on a similar pallete of sound design, sampling, electronica and synthesised percussion as well as conventional symphonic instrumentation. It's a fallacy that film composers handle the bulk of the work load, they work to impossible deadlines and have a raft of talent ranging from programmers, orchestrators, copyists and MA 'ghost writers' helping them along (why was Dark Knight initially knocked back from Oscar nomination?)
-
Forgot about Silvestri too, Predator was amazing. I do like the static effect with the theme in the T4 trailer though, as long as that main theme comes in at an iconic moment in the movie BALLS OUT FUCKIN' BOOMIN' I'll be content. With the score at least.
-
just would'nt be a Terminator film IMO. I love the use of that syncopated static in the initial teaser trailer, good move on McG's part, associating with the original
scores signature motif. -
when i think Terminator...i DON'T think whimsical. I want hard, evil 80's drone Synth dammit! Elfman is wrong. (unless he suprises..?)
-
He's come a long way from that. Hopefully Elfman will pay homage to the Feidel themes much like what was done in RAMBO 4 with Goldsmith's themes.
-
Because as of now, all the good work made on the trailers, talk etc have just CRUMBLED.
-
Quite a departure from his synclaviour/Synth driven Terminator scores. It's a shame he's dissappeared from the scoring scene.
-
That twisted quality of which you speak mostly came from the now defunct (and half-deceased) band Coil, who were way more talented making weird electronic scary noises than Reznor ever was, IMO.
-
Reznor still WROTE and PERFORMED the "Closer" remix. You moron.
I guess you also never heard NIN's work other than what they play on the radio? Try listening to something other than Neil Diamond. -
Is another great track commissioned for film, worked incredibly well with the animated cut sequence in that film. He also served as the score's executive producer, he's certainly no stranger to film scoring.
-
there's way better electronic weird shit out there that that pussy Reznor.
-
http://www.9inchnails.com/knowledgebase/seven.php
-
(we're sort of both right.)
---
In this film a remix of Nine Inch Nails' "Closer" appears in the opening credits. The mix is based on the Coil remix - "Closer (Precursor)".
In the words of John Balance: "Actually, it was an independent remix done exclusively for the film. Based heavily on our Precursor Mix of Closer. We don't recieve a credit in the movie or video release which pisses us off even to this very day. The Laserdisc DOES credit us in some way. I hate the way the film industry pisses all over the sources they derive their inspiration from." -
The core components of Closer are all Reznor's, including the ratchets, white noise reverse cyms and outro break, Coil were one of many remix outfits invited to mix that track which is essentially a montage of existing material. As Fah-Cue pointed out, Trent Reznor is undeniably the author of the work. FYI Reznor designs and programs the bulk of his sounds and is reknowned for his experimentation in the studio processing all manner of sounds and guitars with apps like Turbo-synth, bit-basher, GR3 and a number of NI software packages such as Reaktor and Kontakt. The likes of Coil were ok, but they were 2nd wave, riding on the coat tails of originators like Reznor, Skold and co.
-
Was probably the first composer (aside from John Williams) who really got me into purchasing and over-listening to music scores. "Beetlejuice," "Edward Scissorhands," "Batman" - all huge in my growing up years. I DO think that "Spider-Man" has a memorable theme, it's just not as simple and "few-noted" as some other movie themes that are easier to remember for most people. Lately, I agree, Elfman has had a sort of "I'm the go-to guy for a movie score" feel to his work, and some of it is very subtle and laid back in composure - not the stuff we all remember him for. Let's hope he knocks this one out of the park.
-
It sounds nothing like his usual Burton stuff. After seeing that film I'm convinced Elfman can change his style to fit the Terminator universe.
As for Reznor, people forget that his self-made genre was industrial-pop. While Closer was supposed to be an in your face album, most of his stuff is concerned with less industrial sounding material. I remember being excited about 300 when I saw Reznor's song being used for the commercial. It was about that time that I thought Reznor would be able to create a great score. He already works heavily with the piano and his work shows he is familiar with strings (although probably synthesized). Give this man a job, Hollywood. -
Whimsy aside Elfman is capable of turning in something unique and distinctive for T4 (forget the Wagnarian bombast of Batman and the lush chorals of Edward Scissorhands which have become a hallmark of his sound). His score for POTA in it's expanded form has some truly aggressive action cues, with a deft mix of monster walls of acoustic electronic percussion and spikey synthesized textures. The guy can readily switch between so many styles; his work on Midnight Run conjures up Stax soul and Chicago Blues while his work on Delores Clayburne could has all the nuance of contemporary symphonic minimalism. I think he's burnt out a bit aof late dnd has maybe lost sight of that original experimental side to his formative work, saying yes to every Marquee movie thrown his way. He can deliver imo, he just needs to stretch out and avoid the beaten path of self referencing with his approach to T4. I'm hoping he's going to throw a curve and surprise a lot of doubting detractors.
-
Hey Kane, I'm NOT denying he cranked out the original stuff. Just quibbling over remixes. Which, I'm discovering, is boring. For what it's worth, the intro of Se7en is the best part of the movie. I went out and got Downward Spiral because of that movie and was let down when none of it sounded as cool as the intro of the movie did.
-
For me Reznor is'nt a one trick pony and
as the body of work he's amassed varies dramtically (and does actually cover the warped textures of Closer on may EPs and album tracks). But that style is more the domain of less mainstream artists, Aphex Twin, Locil and Stalker create some pretty progressive work in that vibe. -
OK, I admit that I actually like Reznor, I just find it hard to be a "fan"... partly due to his excesses, image-based marketing, and above all his *insanely rabid fan base* that (often) don't seem to know that electronic music has been around almost as long as electronics has. Sorry to be reactionary before, but somebody (not you) threw a rock at my head for NIN-thoughtcrime. And I like techno in general. And most of the software you named. Peace Out.
-
I'm less interested in the image factory clutter, marketing and posturing that goes in trap with a lot of *artistes* out there (which is I suspect born out of a need to survive in a pretty saturated market) it's more about the music and creativity in the studio for me and just being captivated by something that hooks you in whatever the style/genre. Pretty subjective, 'one man's meat' and all that. Peace out, good talkin to you.
-
I think the make-or-break thing for liking NIN for most folks is Reznor's voice. He's better with his gizmos than his larynx. Oh, and back to Terminator for a second. I could see TR doing some cool stuff on, say, the sound design. But I'm afraid if he just did his techno thing in the score it would get dated quickly (like some of the chase music from T1 that has not aged well AT ALL, even if the theme music is still iconic). Anyway, the Terminator music to me sounds best when it sounds literally mechanical rather than digital, like a machine that can rip you limb from limb, not kill you with math.
-
When I was younger I thought he was a ponce because he took the industrial thing and made it accessible to the masses. As I grew older, I started to appreciate his composing skills. The guy knows how to write good songs; he infected industrial grime with an almost Prince sense of pop. He's not given enough credit. Also, he wrote the best fuck song of all times -- Closer.
-
now let's all hug and be nice.
-
Maybe McG got it wrong ?
-
I mean Mc Ginty... talk to us mother ! It's not the Exterminator sequel !
-
I've always wanted to see a barage of terminator endo-skeletons singing "I like little girls...". Great pick guys. No really. GREAT PICK!!! I'm going to go play in heavy traffic now.
-
Yeah, kid, I know it must be hard for you to hear when your ears are being muffled by your lower colon, but do at least TRY to keep up. I've been collecting soundtrack CDs for over 25 years, and Beltrami is a kick-ass composer whose musical abilities put Fiedel's to shame. (Let's see... I own about 15 of Beltrami's scores on CD... and zero Fiedel scores.) Oh, and a little reminder: Beltrami's getting constant work, while Fiedel hasn't done anything of note since "True Lies" in 1994 -- which was completely orchestrated by Shirley Walker. It's a shame you couldn't come up with a better retort, or back up any of your babbling with some facts, but thanks for playing -- everyone here appreciates your effort, even if you did fail miserably, twatwad.
-
...before Marco Beltrami was set to Score T3, Elfman's name was all over the IMDB as composer for that one. :P
-
And again incredibly versatile, take T3, Three Burials and Hellboy; scores that are stylistically poles apart and showcase this talented composers versatility. He's relatively speaking, considerably younger than the likes of Elfmann and his peers, the potential for him to develop further and esteablish himself as one of the best is in my opinion a given. As a footnote one of my friends assisted him on the first Rez Evil score (Mansun only wrote a few cues) and made mention of the fact that he's totally unhampered by ego and was a very generous and supportive mentor.
-
He is'nt exactly Juan Atkins! I'm curious just how much NIN you've heard beyond Pretty Hate Machine and Downward Spiral? There's not much about Reznors sound that is stock (apart from the obvious use of gtr, drum and bass). And I'd have to disagree on his musical input dating a Terminator score, what dates a score is if either stylistically or timbrally the music and sounds used relate to a specific period in time (unless it's part of the score's diagetic, i.e music witten specifically to evoke a period/place in time). In the case of the first Terminator score some of the analog synth/drum patches, synclavior sounds and tutti stabs were most definatly 'stock' and define a sound palette that is essentially rooted in the early 80s. With his score for T2 Fiedel created many of the scores textures and originally sourced samples for what for me is a score that does'nt bely it's age. Having said that analogue synths are still in vougue and as for the kind of processing and experimentation Reznor applies to his sounds negates any risk of it being associated with a trend or period. Similarly Jerry Goldsmith's groundbreaking score for Planet of the Apes is borne out of time, a truly unique and challenging piece of experimental electronics and jarring atonalism - if any composer were gifted enough to write such a score today it would be heralded as groundbreaking and unique. For my money Reznor (who has already dipped his toe in film, could easily turn in a great score for T4, more so with the assistance of an orchestrator or orchestral based co-composer. A Sound Design gig is a pretty ridiculous notion, Gary Rykstrom he aint and the disciplines are considerably different.
-
Where's the Derrick May and Kevin Saunderson drop?
-
They say they won't be the Fiedel theme but there will be a rap song on the end credits... DAMN YOU MCG !
-
At least someone here knows their techno ;-)
-
Kane - Forget I said "techno", I know holy wars are fought over words like this, and I'm not really sure what you mean. Hard industrial, will that do? (nobody seems to agree what "industrial" means either). Anyway, all I meant was a concern that NIN might be too, er, NIN, instead of adjusting to the task of making a soundtrack (you've already indicated he'd need help, would get help, etc... I hope so). I'll defer to your in-depth knowledge of the NIN catalog, since , naturally, I'm not an expert on bands I'm not a big fan of (at some point, you kind of stop listening). I can't and wouldn't argue with your enthusiasm for the music. Yeah I heard the "hit" records (ehh). I got snippets here and there of the other stuff, couldn't tell you what, enough to know he's way more multifaceted than that. Give me a recommendation of the most "out there" stuff if you would. I enjoy the Aphex Twin etc style lately. I guess there's no way to know if his score would suck or not until he composes one, or if it would get "dated" until it ripens... maybe it would be great, I dunno (after T3, the T fans are a bit risk averse perhaps). The worst cases of something turning "dated" usually result from trying to appear "modern" and "snazzy" etc which usually ends up time stamping it faster (some of Michael Mann's movies have a bit of this in the soundtrack, though I love them anyway). Or sometimes, a technology just sounds dated by itself (vocoders or melotrons tend to do this... but T2 has melotron-like pads in it and it still sounds great). Er, I guess I'm afraid Trent might "overdo it". And sure he could do Sound Design, at least for things like Terminator-HUD (though he'd probably do better on a more cyberpunk-y movie than T, which is more of a war robot thing). I believe NIN got a "Sound Design" credit (not just a music credit) on Quake 1, but most of those sound effects came out of libraries anyway and can be heard in many places, so it may have been in name only. Anyway, if he's cutting edge with Reaktor, and he was working on the right movie, he would be great at this, or at least a great addition to a Gary Rydstrom ensemble effort... (not that I think he'd want to do that, but... )... anyway, the idea of a NIN score makes me no more nervous than Elfman at this point, really. I just want this movie to be good!
-
Jan 12, 2009 8:17:42 AM CST
Check out any of the 'Belleville three' for a primer in real tec
by killakane
Not too enamoured with Elfmann's indifference to the Fiedel theme, it's like omitting Williams staccato signature for a Jaws movie imho. As for the inclusion of a Rap track, I reckon it'll be tacked on to the closing credits or piped out of an old blaster in scene.
-
Rap? So "the kids" will think it's "cool"... ugh... at least have Arnold do the rap, hah! I want to let out a Sarah Connor mental hospital rant on this McG guy if that's true.
-
How is Elfman not going to use the original Terminator theme? WTFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFF!
-
Even when the first teaser was released for "Salvation", the makers of the trailer knew how recognizable and iconic the main them for Terminator was... and they teased us and "played" with us by using static for the intro notes. Elfman finds no need for the melody. Just play it over black with no titles and people will get hard-ons!
-
IF YOU ARE TRULY RESPECTFUL, PUT IN THE EFFIN THEME THERE ! OR BETTER FIRE ELFMAN AND GET BRAD FIEDEL INSTEAD ! DAMN YOU !
-
Such indifference to using Fiedel's contradicts all the PR hyperbole McGinty was blowing out in his earlier T4 blogs. If he truly understands what makes a great Terminator film, he'll include the original theme and if he's really
shrewd, place it up front in a 'bonifide' opening title sequence, that will set the tone, unify it with Cameron's films and get audiences onside from the off.
Readers Talkback
User Login
Top Talkbacks
- AVENGERS enemy revealed as pink boardgame pieces... You might suffer some form of elation... SPOILERS!!! -- 151 total posts 140 posts
- There's a STAR TREK video game that is going to lead into JJ's STAR TREK 2 apparently... -- 128 total posts 94 posts
- Whitney Houston 1963 - 2012 -- 92 total posts 91 posts
- To Commemorate The 3D Release Of STAR WARS EPISODE I: THE PHANTOM MENACE, George Lucas Wants You To Know...Greedo Shoots First!! -- 474 total posts 70 posts
- Here's The Red Band Trailer For Drafthouse Films' THE FP! -- 64 total posts 64 posts
- New JUDGE DREDD post production footage pops up -- 51 total posts 51 posts
- Friday Brings SWEEPS DAY NINE!! Gab Here About Tonight’s FRINGE!! Plus Einstein on TIM, Wiig On PORTLANDIA, MAHER, CLONE, GIFTED, GRIMM, SPARTACUS, SUPERNATURAL, GOLD RUSH And More!! -- 116 total posts 41 posts
- Wanna smell like the Hulk? What about Cap? Consider yourself a Thunder God or a unisex God of Mischief? -- 71 total posts 40 posts
- HANNA's Saoirse Ronan to boss around seven little people -- 35 total posts 35 posts
- Does ‘SNL’ Rhyme With ‘Deschanel’?? Learn Which SATURDAY NIGHT LIVE Vet Hosts After Sexy Zooey!! -- 35 total posts 34 posts