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Wow. That's a surprise!
Bliss is one of the best tracks on the CD.
I also like the opening track, Clean You Up, Ana's Theme, Ana & Christian and Variations On A Shade...Clean You Up especially, as there is a hint of warmth in this otherwise cool vibe score.
I dread to think how much of the new Avengers Elfman stuff won't ACTUALLY BE by Elfman!
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I love the cue "Bliss," I don't care who wrote it. It fits in with the rest of the score and the fact that another composer wrote it doesn't mean a thing to me, really.
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Yeah, those who don't care who wrote the "Danny Elfman" music confuse me. If someone else not named Danny Elfman wrote the whole cue, that is the composer who should get proper credit for it. These "additional music by" credits shouldn't be a catch-all, especially in this case.
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Yeah, those who don't care who wrote the "Danny Elfman" music confuse me. If someone else not named Danny Elfman wrote the whole cue, that is the composer who should get proper credit for it. These "additional music by" credits shouldn't be a catch-all, especially in this case.
I don't care, in the sense that I listen to a CD and I like the music, regardless of the name on the label. I'm not particularly married to the cult of a specific composer (although if I had to be, Elfman would be one I guess).
I do care because I'd rather see composers get their due - for their sake so they'll get more work, and for my sake as a listener so that I can know who to seek out if I like their stuff.
But, to your second point, that's why it's so frustrating. Most of us sought out this score because Elfman's name was on it, but to see that it's literally just that - his name written down for music that isn't his - taints (sorry) the experience for me.
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Maybe Elfman did write a cue for the scene (Bliss) but his tilt at it wasn't used in favour of the Buckley version??
I do like the track and yes, nothing's gonna stop me from enjoying it in the future, but a bit more transparency up-front wouldn't do any harm, would it.
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Maybe Elfman did write a cue for the scene (Bliss) but his tilt at it wasn't used in favour of the Buckley version??
Negative; "Then Don't","Ana and Christian", and "This Is Mine" are the only cues with alternates recorded (and the alternate version of "Ana and Christian" is already on the OST, as "The Contract"
Bliss is slated as a source cue, which could be why it was "farmed out".
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Bliss is a source cue? I've seen the movie saw no indication.
Haha you saw Fifty Shades Of Grey.
Anyway, the fact that JLB is calling it a source cue makes it even more galling that Elfman is taking up-front credit for it. By that same token, if "In The Hall Of The Mountain King" appeared on this soundtrack, would Grieg show up in the small print as an additional composer? Would that be ethical?
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Is Buckley's name mentioned anywhere in the physical CD packaging at all?
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35 years since Georges Delerue received sole credit for the score for A Little Romance, which featured extensive use of a Vivaldi concerto entirely uncredited in the movie or album, I have learned to expect this kind of thing - no surprise at all.
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Maybe the classical work wasn't the best example, but still, between this and Morricone/Henry's cryptic post about Elfman a while back, I'm troubled/annoyed by Danny Elfman's conversion to a brand name.
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Posted: |
Apr 8, 2015 - 10:37 AM
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By: |
John Mullin
(Member)
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This doesn't bother me at all either...
Bliss is a very simple cue (although it is a great one), and I don't really see it as the keystone of the score or anything. It doesn't even contain any of the themes from the score. If LeBlanc is right and "Bliss" was internally labeled as "source" then it is even less surprising to me that Elfman did not write it himself. The first track on the CD "Shades Of Grey" and the phenomenal "Variations On A Shade" are the two that really make the score for me... both totally sound like Elfman wrote them himself, as does most of the score, really.
While we're on this subject, though, I don't think there's anything wrong with composers getting additional help when writing a big film score in a very short amount of time. It's just the reality of having to do these things on such tight schedules, and I don't think it makes the music "less holy" or anything. I know that John Williams does it. Horner does. Goldsmith did. Newmans Thomas, David, and Randy all have. Desplat and most certainly Giacchino do. Elfman has done it on occasion too, and unlike some of the others, he normally credits his collaborators and specifies what they did, as he did on CHARLOTTE'S WEB, HELLBOY II, HULK, AMERICAN HUSTLE and others. I'm sure he'd write every note himself if time permitted, but it often doesn't.
The composers still set the tone, style and themes for the score and supervise the additional cues... nothing gets played for the director that the composer doesn't weigh in on and like. It's how younger composers get opportunities and learn, and how knowledge is passed on.
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