Results for: danny elfman film music
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Spider-Man 2 with Danny Elfman's Original Score (Part IV) In the final cut, the fire scene is temp tracked with Danny Elfman's music from the first (More) In the final cut, the fire scene is temp tracked with Danny Elfman's music from the first movie's fire scene. I'll never repeat it enough: it made no sense since in the first movie, Spider-Man was saving the kid while here, it's a "powerless" Peter who does. Elfman's original score for the scene brings way more tension and uncertainty, as Peter is taking a huge risk entering the crumbling building. Peter's Turmoil was also rejected, John Debney writing a very classic "Cake Girl" instead. Again, Elfman's ability to suit to the images is brilliant, giving at the end an almost comical yet very touching moment that musically comforts Peter. More to come... (Less)
Spider-Man 2 with Danny Elfman's Original Score (Part VI) This is one of the sequences that caused the imbroglio during the post-production of the film. It (More) This is one of the sequences that caused the imbroglio during the post-production of the film. It was rumoured that Sam Raimi didn't attend the recording sessions and wasn't happy with Danny Elfman's music for these scenes. They were temp-tracked with the "Hellraiser II" score and Raimi wanted Elfman to write something extremely similar to Christopher Young's music which he refused to do. To make it short: tension grew and it ended up with Elfman leaving the film and with Raimi asking Young to rewrite several scenes, in this case, copying his own score for Hellraiser II. What Elfman wrote here is very indicative of who Doctor Octavius is: a man of science with noble intentions who is trapped by his megalomaniac projects. In the first statements of his main theme, the harmonics chosen give a sense of mystery and achievement as Octavius is living the moment he has been waiting for years. It's mainly here that we can notice that Doc Ock's main theme is a diminished version of Spider-Man's theme, meaning that at that moment of the film, he's a potential modern hero of his own. As soon as the experiment goes wrong, Elfman installs the orchestration that will be used for the character: mainly a "monster" approach, something between Frankenstein and Jekyll & Hyde, always carrying both nemesis and trauma. The Hospital scene is one of Raimi's few good decisions about the music. By leaving these images on their own, the scene is way more impressive and effective. Ironically, this is the only moment in the score where Elfman went for an over-the-top writing, underlining every single aspects of the frame which is what Raimi was looking for most of the time. The final cut reintegrates Elfman's music when Doc Ock wakes up. More to come... (Less)
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