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Comments about the soundtrack for Spider-Man (Danny Elfman)

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Re: Danny Elfman did it again
• Posted by: Rob Harrington   <Send E-Mail>
• Date: Friday, September 6, 2002, at 6:04 p.m.
• IP Address: pcp01943811pcs.canton01.mi.comcast.net
• In Response to: Re: Danny Elfman did it again (Scott)

I think soundtrack music is one of the few genres that actually requires musical background/knowledge for full enjoyment. Elfman has matured as a composer as stated before. Like the person in this thread earlier stated, he requires the listener of the task of listening. Simply put, he's going to make you ask questions and answer them in music. By doing this, he's moved away from doing simple themes or the usual thematic score approach (although this score does have a few themes, they're not that prominent) and thus it loses appeal, especially to somebody like you who lacks musical knowledge. Soundtracks are about emotions, not themes. What's great about the Spider-man soundtrack is that it's almost cheesily orchestrated (for that comic book effect) but it's a top notch job in conveying emotional messages.

And that rolling thing your talking about, I'm guessing with the strings where he does some fast arpeggios and stuff and it sounds like "rolling". I personally love that. I don't really see how it could get that repetitive since really he never makes it a focus in his songs that much. It's a style preference, just like the way Williams handles his brass a certain way...it's style. It's what makes Elfman music Elfman...ish.

To say Elfman has been churning out the same stuff since Batman is a load of crap, I'm sorry. Compare Batman to Nightmare Before Christmas to Black Beauty to Sleepy Hollow to Family Man to Spider-man. There's really no repeated score theme throughout these, except Spider-man and Batman which sound like comic book scores but are scored completely differently.

> Why do I HAVE to know what a term in music means? It's the sound that I
> look for, not the technical whatevers. And to me, listening to the score
> as I watched the film, I kept on hearing the same stuff coming from Elfman
> that I've heard since 1989. And since when does someone need a formal
> education in music composition to form an opinion as to whether or not
> they think something sounds the same as something else? Go peddle your
> superiority complex elsewhere. You're an Elfman fan and you're defending
> your hero. Cool. I'm not a fan and I'm pointing out a perceived
> similarity.

> You know that rolling sound he likes? You know the term, please tell me so
> I am as smart as you. Well, that damned "rolling thing" is in
> rearly every freaking score of his for the past 13 years (I hear it every
> day on the Simpsons). I'll give you this: Planet of the Apes WAS a
> departure for him. It's was all full of percussion (the correct term,
> Professor?) and less of his fall-back sound. HOWEVER, aside from the main
> titles, it was pretty dull stuff.

> And yeah, John Williams is sounding the same these days. So is Goldsmith.
> But, cripes! They've been doing this for over 45 years! They're in their
> 70's! Elfman at the point in his career that Williams and Goldsmith were
> in the early 70's, which was their most innovative time. Elfman is just
> being...oh never mind. Think what you like and I'll think what I like. My
> opinion doesn't matter, Professor. I don't know what a one quarter thingy
> is.

> D'OH!




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