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For Elfman's role in the Big Eyes soundtrack, the composer sought to diminish the score's function as a larger narrative tool and tailor each moment individually to the instrumental colors of his choice. The marimbas, strings, and piano are the core of that sound, with guitars, electric bass, and sampled orchestral elements keeping the overall tone of the music light, even in its more suspenseful passages for Walter Keane. Elfman does defy the small ensemble size by occasionally generating a significant depth of exuberance, especially in the portions of the score dedicated to the popularity of the paintings. Film music collectors may find this score to be about as close as Elfman can come to emulating Thomas Newman in his own lightly dramatic mode. A statement from the composer about not writing themes for either concepts or character is something of a head-scratcher, however, because Elfman did just that for this movie. Several ideas recur throughout the film, and all of these themes and rhythms utilize repetitive phrases. The following analysis is primarily aimed at the 21-minute arrangement of Elfman's score on the otherwise song-defined commercial album for Big Eyes, though some references are made to a 37-minute "for your consideration" album distributed by the studio that contained a set of raw cues that didn't always overlap with the contents of the commercial product. The main theme of Elfman's score represents Margaret Keane and takes call and answer form in a sum of seven notes over two phrases. It opens the score lightly and is hinted very slowly at 1:35 into "Opening," returning at 2:30 on piano over optimistic string ensemble, guitar, and marimba. This idea recurs at 1:02 into "Margaret" on piano and light plucking. While barely evident at the start of "Victory" it is better teased in middle of that cue before finally coming into focus in the final minutes. On the promo, additional performances are illuminated in abbreviated form in "Job Opening" and with smartly quiet taunts in "Walter Testifies." A couple of other melodies breeze in and out of the score in relation to Margaret, including an innocent theme on piano at 0:54 into "Who's the Artist?" over slight strings that becomes fuller at 2:05 with oboe over piano but remains subdued. It is reprised in the middle of the promo cue "Money" on similar piano and strings.

A third largely positive theme in Big Eyes seems aimed more at the relationship between Margaret and Walter, with three-note phrases over shifting chords recalling Michael Giacchino mannerisms. It opens "Who's the Artist?" and is explored further on the promo cues "Walter's Confession" and, faintly, "Jane's Discovery." Walter himself doesn't receive structural consistency, but his material is decidedly more ominous, with menacing, deep string minor shifts early in "Walter" aided by meandering descents above. This material is the most characteristic of jittery Elfman techniques on strings, with faint organ and low woodwinds lending to the unease. It becomes a force in the revelation cues in the final third of the score, ranging from "Going Wrong" to the tense spirit that carries over to "Off to Court," cues separated from the Walter suite on the promo. The final theme in the score is its Newman connection; this popularity theme is a snazzy, ten-note motif in repetition that is hinted early but consolidated at 0:50 into "Opening" on marimba over electric bass. A variant opens "Margaret" in high spirit and morphs into a softer and more urgent, suspenseful form in the first half of "Victory," accelerating into the main theme's chords in the second half of the cue. This idea opens "End Credits" lightly on marimba but is underplayed and dissolves at the end. The popularity theme is the score's most memorable and enjoyable, and those seeking additional performances will find them on the promo in the exuberance of "Keane Fever" and force in "A Movement," reprised in "Margaret Reveals" with different counterpoint on top. Overall, Big Eyes is a decent little score, its suite arrangements on the commercial product recommended for all but Elfman completists. That Interscope product offers both Del Rey songs as an equal attraction and presents a pair of source songs ("Bludan" and "Tropicville"), the first of which sounding remarkably similar to the theme of the "Sex and the City" show. For those seeking bootlegged versions of the promo, expect poor sound quality due to the highly compressed nature of the original online presentation. Still, it has a few singular highlights, including a nicely rolling melody in "Humpty Dumpty" and the bright guitar and marimba enthusiasm in "The Brochure." Otherwise, it adds mostly short, mundane atmospherics, the World's Fair cues minimal and uninteresting while low, rambling Walter material is reprised in "Jane's Discovery." Some Elfman music is unique to only the Interscope album, which remains the best option.  ***   @Amazon.com: CD or Download

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For Danny Elfman reviews at Filmtracks, the average editorial rating is 3.16 (in 89 reviews) and the average viewer rating is 3.27 (in 153,899 votes). The maximum rating is 5 stars.