Danny Elfman
Danny Elfman
Daniel Robert "Danny" Elfman is an American composer, singer, songwriter, and record producer. From 1976 to 1995 he was the lead singer and songwriter for the band Oingo Boingo...
NationalityAmerican
ProfessionComposer
Date of Birth29 May 1953
CityLos Angeles, CA
CountryUnited States of America
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Sometimes you get real close, sometimes you don't. Sometimes they drive you crazy. I think every composer does that. That's a big part of the job.
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That still has to be there. And so, it's kind of an interesting question you brought up. Because, on the one hand, yeah, it'd be lovely. I certainly don't see that happening. In fact, I see the opposite happening.
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Having ten melodies was also a huge challenge, because I usually have three - sometimes just one or two, but often three that I'm using.
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But, when it comes to all the other little instruments, of which there's a lot in the stuff I've done the last couple of years, I do it all myself.
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You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.
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What Brian laid out was something that felt really uneasy and bordering on feeling like I was on a boat or something. So I went with that feeling.
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Without the music it was kind of hard to tell. People were very confused whether you're allowed to laugh at the stuff that was happening.
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But, really it was finding a kind of a vibe and letting that vibe carry the movie. And did I bring anything new to the mix? I don't know.
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The beauty of a main title is that you establish your main theme and maybe a bit of your secondary theme. You plant the seed that you're going to go water later in the score. And so, having that removed just made it so much more difficult.
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It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second.
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It was a ragtag street ensemble, ... Literally, we'd pass the hat. I learned how to breathe fire. I learned to play the trombone. I was a street musician for years.
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There's kind of a cool feel that happens every now and then. I guess that feel is the thing that makes the score its own score. But, I don't know exactly what that is. So, it's hard for me to answer that question.
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So I've learned in the past, if a company approaches me and they want something like this, or something like that that I've done and I turn them down, they're going to do it anyhow.
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I'm looking for a feel and I have to find what that feel is before I can move on from there. I'm not necessarily catching stuff in such a simple way - I don't need to. So, I'm going for something else.