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I think the allure of actually selling hard (ahem) copies of a score in higher numbers than usual would make a "name" title like this too much to pass on.
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Because Elfman's been phoning it in for his high-profile projects for several years? Like John said earlier, you hear much more inspiration in Elfman's smaller projects and non-film work these days. He's playing the game now, unable to bring anything fresh to the table musically.
Short of John Williams, if you're a composer and you see people buying up anything with the words "Fifty Shades Of Grey" written on it, you jump at the chance to make some sweet Maurice Jarre Ghost bank.
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Um, yeah...I'll just say that your "several years" of phoning in te high profile assignments must start after Alice in WONDERLAND, because that score is truly magnificent, particularly in complete form.
Yavar
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Yeah, post-Alice. What a great theme.
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Posted: |
Feb 16, 2015 - 4:02 PM
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By: |
John Mullin
(Member)
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I do love the ALICE score (despite hating the movie), and I think THE WOLFMAN, also from 2010, is pretty stellar. Later in 2010, he did THE NEXT THREE DAYS, which I think is excellent as well, and the following year he did RESTLESS, which I love.
I didn't like much of what he did in 2012, however... DARK SHADOWS didn't really light me up beyond that amazing "Prologue" cue. MIB3 didn't do much for me.... same with FRANKENWEENIE, HITCHCOCK, and PROMISED LAND. I thought there was a lot of interesting stuff in SILVER LININGS PLAYBOOK, however, which is another score where he got to work a very different palate than he normally gets to.
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Eh... I don't believe Elfman's been phoning it in these days. Those who honestly think that simply can't handle his more low key/intimate scores, imo. In other words not their cup of tea.
It's more that he has streamlined his sound, much in the same way most composers do at his age. You can't expect him to keep every second of his music interesting like his career highlights, such as Dolores Claiborne and Mission: Impossible, where there's always something going on. At the same time, maybe the colorful and inventive orchestrations are why I liked Elfman in the first place. Streamlined Elfman just comes off as bland. Maybe in another 10 years, when film music has devolved even more, this more recent stuff will blow my mind, like how even the worst late-90's score by Goldsmith does now.
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