{"id":18409,"date":"2022-08-05T15:23:47","date_gmt":"2022-08-05T13:23:47","guid":{"rendered":"https:\/\/www.classical-music.com\/?p=169788"},"modified":"2022-08-05T15:27:12","modified_gmt":"2022-08-05T13:27:12","slug":"10-best-film-scores-by-danny-elfman","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/10-best-film-scores-by-danny-elfman\/","title":{"rendered":"10 best film scores by Danny Elfman"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By Michael Beek\n                \t\t<\/p><p class=\"rssbyline\">Published: Friday, 05 August 2022 at 12:00 am<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p style=\"&quot;font-weight:\"><strong>His name has become synonymous with dark shadows and strange beauty, and American composer <a href=\"&quot;https:\/\/www.classical-music.com\/composers\/who-is-danny-elfman-the-composer-behind-the-simpsons\/&quot;\">Danny Elfman<\/a> has had a hell of a time on screen over the last four decades. From the low-budget, childish hijinx of\u00a0<em>Pee-wee\u2019s Big Adventure<\/em> (1985) to the big-budget, high-octane comic book fantasy of\u00a0<em>Doctor Strange in the Multiverse of Madness<\/em> (2022), Elfman has really done it all.<\/strong><\/p>\n<section class=\"&quot;highlight\"><div class=\"&quot;highlight__content\" editor-content=\"\"> \n<ul><li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/top-film-composers-ever\/&quot;\">Top 10 film composers \u2013 of all time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/six-best-film-scores\/&quot;\">Best film scores<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/what-is-the-difference-between-a-film-score-and-film-soundtrack\/&quot;\">What is the difference between a film score and film soundtrack?<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/composers\/how-many-female-film-composers-have-won-oscars\/&quot;\">How many female film composers have won Oscars?<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/who-has-won-the-most-oscars-for-film-music\/&quot;\">Who has won the most Oscars for film music?<\/a><\/strong><\/li>\n<\/ul><p> <\/p><\/div> <\/section><p style=\"&quot;font-weight:\">But what have been the benchmark moments in his colourful career as a film composer so far? Here\u2019s ten of the best\u2026<\/p>\n<h2>10\u00a0 best film scores by Danny Elfman<\/h2>\n<ol start=\"&quot;10&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong>Alice in Wonderland<\/strong> (2010)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">Elfman\u2019s 12th feature score for director Tim Burton saw the composer use a large orchestral palette to support the wide-eyed, blindingly technicolour world of Wonderland. It\u2019s a robust, colourful score full of action set pieces that are \u2013 dare I say it \u2013 rather forgettable. Elfman\u2019s trump card, though, is his his main theme and that\u2019s why it\u2019s in the list \u2013 \u2018Alice\u2019 is up there as one of the very best things he has ever written. At once haunting and exciting, it features a girls choir singing atop Elfman\u2019s typically topsy-turvy harmonies and rhythms.<\/p>\n<iframe title=\"&quot;Alice's\" theme=\"\" in=\"\" wonderland=\"\" version=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/yPjlCza7JHI?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<ol start=\"&quot;9&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong>Spider-Man<\/strong> (2002)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">Long before the current comic-book blockbuster craze, Danny Elfman somewhat cornered the market in music for superheroes (and antiheroes). Sam Raimi is another director Elfman has bonded with creatively, the pair reconnecting a number of times since their first outing on 1990\u2019s <em>Darkman<\/em>. Elfman is a bit of a master when it comes to a great \u2018Main Title\u2019 theme, and <em>Spider-Man<\/em>\u2019s is one of his very best \u2013 it has a great, youthful energy and its power is really subtle. Rather like Spidey himself. The wider score features a well-executed balance of orchestra, synthetic elements and guitar, an overall soundworld that became typical of the composer in the noughties and beyond.<\/p>\n<ol start=\"&quot;8&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong>Dolores Claiborne<\/strong> (1995)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">By the mid-\u201990s Elfman had truly established himself as one of film\u2019s most individual talents, particularly in the realm of fantasy. He had also begun to prove his talent in more \u2018grown-up\u2019 drama, with scores like <em>Article 99<\/em> (1992) and the brilliant <em>Sommersby<\/em> (1993). Taylor Hackford\u2019s <em>Dolores Claiborne<\/em> allowed the composer to dig even deeper, with Elfman delivering a score that was light of touch (piano, strings, harp) but remarkably adept at creating a sense of introspective, brooding drama. Ten years after <em>Pee-wee\u2019s Big Adventure<\/em>, Danny Elfman had come of age.<\/p>\n<ol start=\"&quot;7&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong>Black Beauty<\/strong> (1994)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">This was such a fertile period for Elfman, who was juggling regular high-profile projects for the likes of Tim Burton with smaller dramas. <em>Black Beauty<\/em> is another high watermark moment for the composer, composing what is perhaps one of his most traditional scores. It features lovely thematic material, with a lilting flute melody, gossamer strings, playful woodwinds (the most recognisably \u2018Elfmanesque\u2019 of the score\u2019s elements) and a lot of piano. The music has a warmth and homespun folksy quality hitherto unheard, and it\u2019s a winning tone Elfman would return to in later scores like <em>Big Fish<\/em> (2003) and <em>Charlotte\u2019s Web<\/em> (2006).<\/p>\n<iframe title=\"&quot;Frolic&quot;\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/keMF10z21GA?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<ol start=\"&quot;6&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong>Planet of the Apes<\/strong> (2001)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">It\u2019s time Tim Burton\u2019s take on <em>Planet of the Apes<\/em> was reassessed. Pre-dating the performance-capture technology that made the most recent <em>Apes<\/em> franchise so visually stunning, it really made the most of just how far practical make-up effects had come. Burton\u2019s <em>Apes<\/em> might have its flaws, but it is a feast for the eyes and ears. Elfman\u2019s contribution to the film remains one of his most underrated works. He employs a staggering amount of percussion and unusual instrumentation, which joins the orchestra and top-notch synthetic nodes to create a thrillingly muscular soundscape.<\/p>\n<ol start=\"&quot;5&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong>Sleepy Hollow<\/strong> (1999)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">Tim Burton, Danny Elfman and Gothic Horror are a match made in heaven. Burton\u2019s film is truly one of his most beautiful to look at and Elfman\u2019s music matches it on a sweepingly large orchestral canvas. He employs choral forces to spinechilling effect and unleashes a battery of symphonic blood and thunder as the Headless Horseman works his way through the townsfolk. There\u2019s a childlike fairytale quality to the main theme, and an awesome sense of horror \u2013 it\u2019s almost like everything the composer has loved, and learned, was building up to this moment.<\/p>\n<ol start=\"&quot;4&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong>Beetlejuice<\/strong> (1987)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">Elfman set out his stall with Burton\u2019s feature debut, <em>Pee-wee\u2019s Big Adventure<\/em>, in 1985. That score was a preview of coming attractions in terms of Elfman\u2019s colourful approach to film music, replete with nods to Nino Rota and Bernard Herrmann, and so their second feature is perhaps more self-assured \u2013 though no less colourful. <em>Beetlejuice<\/em> (both the film and its music) is weird, wacky and wonderful. Yes there are starring moments for a pair of Harry Belafonte songs, but Elfman\u2019s mad-cap musical accompaniment is breathless, bonkers and brilliant.<\/p>\n<iframe title=\"&quot;Main\" titles=\"\" soundtrack=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/1XVCQPPAx8Y?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<ol start=\"&quot;3&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong> Batman<\/strong> (1989) \/ <strong>Batman Returns <\/strong>(1992)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">Cheating here somewhat; how can you choose between these two? <em>Batman<\/em> was a leap into the unknown for Elfman, who set about taking on his biggest project yet. And he almost walked away when execs wanted Prince to partake in scoring duties \u2013 as it was the late icon produced some songs for the film and a top-selling soundtrack album. Elfman, thankfully, looked after the film\u2019s musical light and shade, and there was plenty of the latter. One of Elfman\u2019s most iconic themes sits at the heart of the first score, which otherwise saw the composer create a thumpingly good score, full of gothic drama and some carnivalesque hijinx. The sequel found Elfman more comfortable in his skin, having more fun with his music and delivering a score even more vivid and thrilling than the first.<\/p>\n<ol start=\"&quot;2&quot;\"><li style=\"&quot;font-weight:\">\n<h3><strong>The Nightmare Before Christmas<\/strong> (1993)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">This was something of a magnum opus for Danny Elfman, who not only wrote the original score for this animated cult classic, but penned all the songs and even performed the singing voice of Jack Skellington. The film itself is a work of art, and Elfman\u2019s contribution is key to its impact. Musically, it sits well within the soundworld we came to know and love from the composer in this period, orchestra, choir, colour and wit. The songs, though, are something else, the likes of \u2018This is Halloween\u2019 and \u2018What\u2019s This?\u2019 just beautifully conceived, and executed with love for the characters and world they inhabit.<\/p>\n<ol><li style=\"&quot;font-weight:\">\n<h3><strong> Edward Scissorhands<\/strong> (1990)<\/h3>\n<\/li>\n<\/ol><p style=\"&quot;font-weight:\">After the heaviness, and production stress, of <em>Batman<\/em>, Tim Burton and Danny Elfman went back to basics with this unusual little suburban fairytale. Like anything to come from the mind of Tim Burton, it\u2019s a curious story, but it\u2019s also very beautiful in its simplicity \u2013 a love story, really, and a sweet fantasy. Those core facets inspired Danny Elfman to create his most enduring score, with its music-box-like introduction, swirling waltz theme, strings and choir creating a true sense of wonder. It perfectly underscores Edward\u2019s childlike view of the world, the sweetness of his nature and also the great sadness we feel at just how misunderstood he is. There\u2019s subtle drama, pathos and moments of comedy, too. No wonder it was adapted into a ballet by Matthew Bourne in 2005.<\/p>\n<iframe title=\"&quot;Ice\" dance=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/fVHo4HNqKjM?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<section class=\"&quot;highlight\"><div class=\"&quot;highlight__content\" editor-content=\"\"> <p><span style=\"&quot;text-decoration-line:\" underline=\"\"><strong>Recommended Recordings<\/strong><\/span><\/p>\n<p><em>Beetlejuice \u2013 Original Motion Picture Soundtrack<\/em> (Geffen Records)<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Beetlejuice-Soundtrack-SOUNDTRACK-Danny-Elfman\/dp\/B000000OR0\/ref=sr_1_19?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><p><em>Danny Elfman \u2013 Violin Concerto; String Quartet<\/em> (Sony Classical)<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Violin-Concerto-Eleven-Piano-Quartet\/dp\/B07MCDXXJD\/ref=sr_1_3?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><p><em>Planet of the Apes \u2013 Original Motion Picture Soundtrack<\/em> (Sony Classical)<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Violin-Concerto-Eleven-Piano-Quartet\/dp\/B07MCDXXJD\/ref=sr_1_3?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><p><em>Danny Elfman: Music for a Darkened Theatre \u2013 Film and Television Music, Vol. 1<\/em> (MCA Records)<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Music-Darkened-Theatre-Vol-Television\/dp\/B000002OEB\/ref=sr_1_13?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><p><em>Edward Scissorhands \u2013 Original Motion Picture Soundtrack<\/em> (MCA Records)<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Edward-Scissorhands-Germany-Soundtrack\/dp\/B000002OFD\/ref=sr_1_1?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><p> <\/p><\/div> <\/section><section class=\"&quot;highlight\"><div class=\"&quot;highlight__content\" editor-content=\"\"> \n<h4>Enjoyed this? Here are some more articles you may enjoy<\/h4>\n<ul><li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/best-20th-century-british-film-scores\/&quot;\">Best 20th-century British film scores<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/six-best-horror-film-scores\/&quot;\">Six of the best\u2026 Horror Film Scores<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/six-best-festive-film-scores\/&quot;\">Six of the best\u2026 festive film scores<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/works\/best-hans-zimmer-film-scores\/&quot;\">Which are the best Hans Zimmer film scores?<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/tv-and-film-music\/john-williams-best-scores\/&quot;\">10 best film scores by John Williams<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/works\/five-lesser-known-film-scores-by-john-williams\/&quot;\">Five lesser-known film scores by John Williams<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/works\/the-best-film-scores-by-malcolm-arnold\/&quot;\">The best film scores by Malcolm Arnold<\/a><\/strong><\/li>\n<\/ul><p> <\/p><\/div> <\/section><p>\u00a0<\/p>\n<p><strong>Top image by Getty Images<\/strong><\/p>\n<p style=\"&quot;font-weight:\"\/><\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Michael Beek Published: Friday, 05 August 2022 at 12:00 am His name has become synonymous with dark shadows and strange beauty, and American composer Danny Elfman has had a hell of a time on screen over the last four decades. From the low-budget, childish hijinx of\u00a0Pee-wee\u2019s Big Adventure (1985) to the big-budget, high-octane comic [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":18410,"template":"","categories":[1],"acf":{"readingTimeMinutes":"7"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/08\/10-best-film-scores-by-danny-elfman.jpg",924,1024,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/08\/10-best-film-scores-by-danny-elfman-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/08\/10-best-film-scores-by-danny-elfman-271x300.jpg",271,300,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/08\/10-best-film-scores-by-danny-elfman-768x851.jpg",768,851,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/08\/10-best-film-scores-by-danny-elfman.jpg",800,887,false],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/08\/10-best-film-scores-by-danny-elfman.jpg",924,1024,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/08\/10-best-film-scores-by-danny-elfman.jpg",924,1024,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Michael Beek Published: Friday, 05 August 2022 at 12:00 am His name has become synonymous with dark shadows and strange beauty, and American composer Danny Elfman has had a hell of a time on screen over the last four decades. From the low-budget, childish hijinx of\u00a0Pee-wee\u2019s Big Adventure (1985) to the big-budget, high-octane comic&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/18409"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/18410"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=18409"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=18409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}