SCOTT GLASGOW

We were all wondering the same thing. It was organized by the Society of Composers and Lyricists.

What an odd thing. Jut because he hires you, doesn't mean you accept. You have contracts to sign, etc. -- you can turn it down.

That's like saying, "I wasn't going trip and fall down three the step and break a leg, but my friend told me to go break a leg anyway."

I know what you mean. He was saying something like "I wasn't going to accept (the A GOOD YEAR gig) because I felt I wasn't ready, but sometimes you just have to jump in with both feet...". I don't really know, it was a very odd interview.

You take the job, Justin. Big gigs like a composing gig are few and far between. And it lead him to scoring one of the most anticipated films of the year.

-Erik-

He wrote some perfectly good scores for THE GREY and yes, PROMETHEUS too. Bashing one another (with hints of jealousy i must say, at least as coldly appearing on text on facebook) and in public is not something i'd expect to see from professionals.

Exactly. What does a "he's not a composer" mean anyway? Elfman is not the only case. It was a very off comment to make on behalf of Glasgow.

He's a musician. As a teenager he played in bands in Germany. He played guitar and took classical guitar lessons as a kid.

-Erik-

You're not making any sense whatsoever, Justin. Again, should Danny Elfman have said no to Tim Burton when offered Pee-Wee's Big Adventure or Batman?

-Erik-

Really? Streitenfeld had scored 5 major films by the time he scored Prometheus. How many major films did Elfman have under his belt when he scored Pee-Wee's?



Shirley Walker and Steve Bartek were and are fantastic but what's wrong with the people that Streitenfeld has been working with. You might have a grudge against Zimmer but he's the biggest thing going in Hollywood these days whether you like it or not. Some people would even consider him "talented" and "creative."



Elfman was going to turn down Pee-Wee Big Adventure as well because he felt like he didn't have the chops. Thank God he didn't.

-Erik-

Listening to his music, quite a lot is wrong with them, at least when it comes to writing music.

Elfman made it because he has an incredible dramatic sense, worked with the best people he could find to help him with an orchestra, and is simply blessed with a lot of talent. But he's an exception - most non-composers who try to be film composers are terrible. Of course it's possible another Elfman will come around but don't ever try to suggest that Streitenfeld is that person. He is totally, 100% out of his depth and it is an insult to all the talented film composers who struggle to make ends meet that he gets to score these massive films just because his best mate is Ridley Scott's son.

Just one little thing...

There was a period of time (turn of 80s/90s) when Zimmer and Elfman actually had *the same team* working for him.

One of Erik's Zimmer favourites (Pacific Heights) was orchestrated by both Walker and Bartek. Bartek also co-orchestrated Bird on a Wire and got back to working with Hans in years 2006-2007, when Hans scored Pirates 2 and 3 and The Simpsons were orchestrated by Bartek.

Interestingly enough, main Zimmer orchestrator Bruce Fowler has done work for Elfman as well, starting with Red Dragon.

Excellent points, Pawel.

-Erik-

No, re-read. I said "that measuring stick", refering to the one you pulled out.
And, on a side note, based on "Battle Beyond the Stars", yes. ST:TMP was a crtitical flop and box office take in was just okay at best. STII was taking a chance, especiall on making a film with based on a one-shot character that only the fanbase at that time -- nowhere as big as today as it was then, even with the mailing compaings -- knew of. Horner was just as suited for the film as any other compsoer then with his credentials.




That's okay, just one less thing to blab back & forth over.



You revising the history of the dicussion. We were not discussing the future of Marc Streitenfled, anymore than Lorne Balfe of in the distant future Lorne Balfe, Jr.

As per what Broxton brought up, tyhe discussion was about MArc taking a job he didn't really jump at first, because he said he was not a composer. And he's not.

Like Southall pointed out, Elfman had dramatic sense. He's displayed actual, though widly different from Williams or Goldsmith, or even Horner -- compositional talent. Marc's talent, via every cue I have sampled, has been a pastiche of Remote Control with no sense. I think it says something when they have to call in Gregson-Williams to write a theme and that Marc gets embarrassed over it. I'll bet if we could dig up an old interview with Elfman after "Pee Wee's Big Adventure", ol' Danny-boy expressed himself well. And, I don't think Shirley Walker was ever called in to wirte the theme for "Pee Wee's Big Adventure" or "Batman".


We're going in circles with tagents which amount to nothing more than opinion on some cases. I'm about to drop this conversation.

Yeah. To be honest, I don't see Streitenfeld going too far but again you never know. He might turn out to be the next Powell <-- A composer who was mimicking Zimmer's voice until he found his own.

-Erik-

There isn't anything in CAT DANCING that cries 'Mancini', as far as I can tell. It's pure folksy Americana. Now, the 60's comedy scores, on the other hand...