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That's great news, but during a press conference in Mexico. sounds like a pretty shady scenario to me. Like he was up to something illicit.
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I didn't say he was dealing drugs, and that's not what "illicit" implies!
It _does_ sound like a "Mexican Press Conference" should be in the Urban Slang Dictionary somewhere, though.
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Great news... although i didn't know there was a biopic about Donald Trump in the works....
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Another unwanted live-action version of a beloved Disney animation classic, but curious about the score now that Elfman is doing it.
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Well, I'm not defending this unfinished film in any way, shape or form.
BUT!!!
I had already decided previously that the live action JUNGLE BOOK was the greatest mistake in Disney's history and John Debney's score would probably sound like cr@p.
Then I went to see it and thought it was a technical marvel, with engaging characters and a thoroughly enjoyable orchestral score by Debney (one of his best, in my opinion) and realised we don't know jack until the cat is out the bag!
And I think the new JUNGLE BOOK did like, a billion dollars at the b.o, so I WAS NOT ALONE!
If you wanna dread a new Disney film, go for the Guy Ritchie one!!!
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This will be Elfman channeling Big Top Pee-wee, Edward Scissorhands, Batman Returns, BeetleJuice, etc.
...
And the bad news...?
Fair enough.  Obviously I'm speaking for myself. I don't care for his "lalala" music.
Your profile lists 20 of your favourite composers. Elfman isn't on that list. Why are you commenting on this thread then?
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Posted: |
Oct 5, 2017 - 11:40 AM
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By: |
DS
(Member)
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This will be Elfman channeling Big Top Pee-wee, Edward Scissorhands, Batman Returns, BeetleJuice, etc.
As somebody who listens to almost every new Danny Elfman score and work that comes out, I think the chances of Elfman in 2018 sounding like the Elfman of 1988-1992 are zilch. Sometimes an artist's style and approach goes through a radical change, and I think Elfman is a good example of this - his music doesn't sound the same anymore, especially in terms of orchestration. Not that he doesn't do fine work these days (and his spotting is excellent), but he sounds like a different composer to me. "Goosebumps" was probably the closest I've heard him come to the older work in a long time, but the restrained orchestration and his overall adherence to motifs rather than melodies ultimately takes it to a different plain.
My guess is "Dumbo" will have more in common with "Oz: The Great and Powerful." Or not! We will have to wait and see.
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