Transcript Elfman_Presentationx

Who is Danny Elfman?
• Writer and performer for musical theater
troupe, “Mystic Knights of the Oingo Boingo”
in the late 1970’s (founded by his brother, Richard).
• Lead vocalist and song writer for 80’s “New
Wave” style band Oingo Boingo, later known
as Boingo, which was more “alternative” in
style, until band’s end in 1995.
• Celebrated Hollywood film composer for over
80 films from 1985 to present
Daniel Robert Elfman: The Early Years
– Born May 29th, 1953 to
Blossom and Milton
Elfman.
– Grew up in Los Angeles
California with his parents
and older brother, Richard.
– Self described “ordinary”
kid who never received any
formal musical training and
was unaware of his talent.
The Personal Life of Danny Elfman
• Married actress Bridget Fonda in
2003.
• Father to 3 children:
– Lola – 1979
– Mali – 1984
• Producer and Actress
• Danny produced the score for her film,
“Do Not Disturb”
– Oliver – 2005
Le Grand Magic Circus
– After dropping out of high school and moving to
Paris to live with his brother Richard, Danny
taught himself to play his first instrument, the
violin.
– Began touring with Richard in the musical troupe,
The Grand Magic Circus in the early 70’s, also
writing compositions .
– Continued to tour with The Grand Magic Circus
after Richard returned to Los Angeles.
– Returned to Los Angeles after becoming ill on
tour.
Mystic Knights of the Oingo Boingo
• Formed by Danny’s older brother
Richard, inspired by his time
performing with Le Grand Magic
Circus in 1972.
• Danny became the Mystic
Knights musical director in 1976
– Wrote many of the group’s
songs, inspired by: Duke
Ellington, Cab Calloway, and
Django Reinhardt
Forbidden Zone (1980)
• A film produced by
Richard Elfman.
• Danny’s first musical
score.
– Inspired by Nino Rota
and Erik Satie
• Aside from composing
the film’s music, Danny
also acts in the role of
“The Devil”
Oingo Boingo (1980-1995)
Oingo Boingo
• As The Mystic Knights of the Oingo Boingo
musical style changed, the group became
smaller, and evolved into a new band with the
shortened name, Oingo Boingo.
• The music of Oingo Boingo was considered as
rock and “new wave” in style.
• The Band recorded several hit songs of the 80’s
including: Dead Man’s Party and Weird Science.
• Later the name was shortened again to Boingo
just before saying farewell in 1995
Pee Wee’s Big Adventure (1985)
• Elfman composed the score after being
approached by Tim Burton and Paul Reubens.
• With inspiration from Nino Rota and Bernard
Hermann, Danny composed the score with Steve
Bartek as his arranger.
• Pee Wee’s Big Adventure is the first of over 80
films scored by Elfman, which includes the
majority of Tim Burton’s films.
The Unlikely Film Composer
• Danny continued to play with Oingo Boingo
until 1995, while building a reputation as a film
composer.
• Eventually became one of the most in-demand
film composers in Hollywood.
• Has received numerous accolades and awards
despite criticism and controversy surrounding
some of his successful scores.
The Danny Elfman Process of Film
Composition
– The time frame in which the film score is to be
completed is usually anywhere from a few weeks
to nearly 3 months.
– Danny begins by working with the director of each
film in order to get ideas for the direction of the
score.
– Danny works with his orchestrator and conductor
during the process, who help to interpret his ideas
into the official score which is then performed by
a live orchestra for the film.
Bruce, Ichabod, Alice,
and the Music Box
The Quirky Compositions Behind
These Unforgettable Characters
and sounds.
Batman: The Movie
“The Batman Theme”
“The Batman Theme” (1989)
• Composed for Batman: The Movie as the main
theme, as well as the leitmotif for Batman.
• Based on 6 particular notes that came to Elfman
on a flight from London to the U.S., which are
now synonymous with Batman, the character.
• Awards and Accolades
• Grammy award for Best Instrumental Composition.
• The score for Batman also wins a BMI Film Music Award
and Grammy nomination for Best Album or Original
Background Score.
The Legend of Sleepy Hollow
“Main Title”
Sleepy Hollow “Main Theme”(1999)
• Composed as the main theme for the Tim
Burton film, Sleepy Hollow.
• Assisted by former band mate Steve Bartek in
the orchestration of the horror-like score.
• Contained two major contrasting character
themes of the Horseman and Ichabod Crane.
• Awards:
– Satellite Award for Best Score, Saturn Award for
Best Music, and nominated for a Sierra Award for
Best Score.
Alice in Wonderland
“Alice’s Theme”
“Alice’s Theme” (2010)
• Composed for the Tim Burton film, Alice in
Wonderland and considered by Elfman to be
Alice’s “Hero Theme”.
• The only song on the score that contains
lyrics, which were added at the last minute.
• Awards:
– Nominated by the British Academy Awards for
Best Film Music, Nominated for Grammy Award
for Best Score for a Soundtrack for Motion
Picture, Television, or other Visual Media.
Oz: The Great and Powerful
“Fireside
Dance”
“Fireside Dance” (2013)
• Composed for the film, Oz: The Great and
Powerful, directed by Sam Raimi.
• The piece consists of music box and waltz
music, both of which were the first
compositions in the entire score itself.
• Used throughout the film in various forms as
part of the underscore.
• Oz: The Great and Powerful is considered to
be one of Elfman’s favorite film compositions.
Interpreting the Unique Elfman
Style of Musical Shorthand
Understanding the Anatomy of an
Elfman Composition
(Musical Timing Guides)
“The Batman Theme”
• Introduction/Phase A: The first 6 notes play in both major and minor in a
deep, grave tempo in a pianissimo dynamic, repeating twice.
• Phase B: The music transitions to a march with the crash of a cymbal at
fortississimmo volume with many melodies and counter melodies as the
march also increases in tempo to approx. allegro vivace. The dynamics
lower to forte as the next phase begins.
• Phase C: The music slows back to the pace of the introduction into a
modified version of phase A. Towards the end , the instruments begin to
ascend with increased dissonance and volume . Most of this phase is in
meno messo.
• Coda/End: The coda begins in a forississimo dynamic with quick and
short bursts of notes played by strings and brass in homophony with a lot
of marcitissimo. The music portrays a quick battle sequence before the
cymbals crash again, bringing the piece to an end.
“Main Title” (Sleepy Hollow)
• Introduction/Phase A: The leitmotif for The Headless Horseman begins
in the piece, in minor mode with much dissonance which is present
throughout the phase. The deep sounds of brass and the organ take up the
majority of the section., which also contains much fortississimmo dynamic.
• Phase B: A variation of a leitmotif for Ichabod Crane begins the phase
which is a sharp contrast to the dynamics and chaotic sounds of the prior
phase, in meno messo with whimsical sounds of chimes andwoodwinds
along with soprano voices .
• Phase C: The letimotif for the Headless Horseman returns adding the
same dissonance and dynamic as it did the first time.
• Phase D: The leitmotif for Ichabod returns with approximately the same
format as before.
• Coda/End: The leitmotif for Ichabod continues into the coda, with the
voices of the chorus taking over. The song ends with a quick bowing of
the strings and a bagpipe follows fading into the background.
“Alice’s Theme”
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Introduction: The song begins with the string instruments, in a quick, allegro style tempo
indicating urgency, as well as setting the tone for dissonance, which will play throughout the
song adding to the tension. The chorus begins to sing.
Verse 1: Begins with a cymbal crash There are strings, brass, and percussion along with flutes
playing during it along with the voices of the chorus. Emphasis and cadence is placed on the
last line of the verse.
Verse 2: The strings come into the foreground while the brass begin ascending in a bass tone
the pitch and dynamics increase as the voices of the chorus sing the verse.
Verse 3: The texture increases. The chorus begins singing a different melody than the prior
two verses, picking up tempo quite a bit and changing form.
Bridge: The middle of the song contains a “gallup” style tempo with the percussion
dominating, while the strings are still present.
4th Verse: The chorus begins singing another verse much faster in a vivace tempo and higher
pitch.
5th verse: The melody of the first verse contains with the brass at a near fortississimo dynamic.
The chorus repeats the final words of the prior verses as they sing the last verse.
Coda/End: The dissonance comes to a peak and then fades as the dynamic lowers and the
tempo slows. A soloist the last of the lyrics as the music slowly fades out.
“Fireside Dance”
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Introduction/Phase: The “music box” begins playing in a triple-meter, which is the
narrative music of Oz. It is piano dynamic, at an andante or moderato tempo. A
second melody is introduced at a slightly different tempo and an increased pitch.
Both melodies are as other subjects join in, in a repetitive arch contour.
Phase B: The timbre changes. The violins begin to play in meno mosso and an
ascending contour while the elements making up the music box descend in a minor
mode twice. The 2nd music melody joins in harmony and homophonic texture. The
faint sounds of the chorus begin to appear, as well as a few of the brass and
woodwinds.
Phase C: The timbre changes again as another instrument joins in and contrasts
with the harp, strings, and music box, all of which remain meno mosso. The chorus
increases its presence and adds just a little bit of dissonance. The dynamics increase
to mezzo forte.
Coda/End: The timbre changes again. The strings continue in meno mosso as
subject as the coda begins with the music eventually descending and slowing in
tempo to adagio as it fades with the voices of the chorus with decreasing mezzo
piano dynamic.
Biographical Works Cited:
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BMI. Top Film, TV, Cable Composers honored at BMI's Annual Film/TV Awards. 14 May
2002. 8 September 2013 <http://www.bmi.com/news/entry/233117>.
Elfman, Danny. Battling Our Greatest Fear. 30 October 2008. 6 September 2013
<http://www.huffingtonpost.com/danny-elfman/battling-our-greatest-fea_b_139246.html>.
Elfman, Danny. Danny Elfman Rick Clark. 1 May 2001.
Elfman, Danny. Interview: Danny Elfman John Braheny. Los Angeles Showcase Musepaper,
1990.
Elfman, Richard. Oingo Boingo: The Complete History. 11 November 2011. 7 September
2013 <http://www.buzzinemusic.com/article/music-oingo-boingo-05072009>.
Elfman, Richard. The Man Behind "Forbidden Zone" Rip Rense. Herald Examiner, 18
August 1982.
IMDB. Awards for Danny Elfman. n.d. 7 September 2013
<http://www.imdb.com/name/nm0000384/awards>.
Silber, Frederick. "Danny Elfman: Wunderkind of Filmmusic." Fanfare 1989.
Composition History Works Cited:
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Boucher, Geoff. Danny Elfman Searches for the Sound of "Wonderland". 4
February 2010. 8 September 2013
<http://herocomplex.latimes.com/uncategorized/danny-elfman-searches-for-thesound-of-wonderland/>.
Elfman, Danny. Danny Elfman Rick Clark. 1 May 2001.
—. Danny Elfman - Composer Oz the Great and Powerful. n.d. 8 September 2013
<http://www.youtube.com/watch?v=A-D6c2wZqSA>.
Faraci, Devin. Elfman Vs. Raimi: Round II. 13 October 2005. 8 September 2013
<http://www.chud.com/4718/elfman-vs-raimi-round-ii/>.
Filmtracks.com. Alice in Wonderland. 10 June 2011. 7 September 2013
<http://www.filmtracks.com/titles/alice_wonderland.html>.
—. Batman. 2 June 2011. 8 september 2013
<http://www.filmtracks.com/titles/batman.html>.
fMcIntyre, Gina. "The Hero Complex Interview: Danny Elfman." The New York
Times 19 November 2010.
Silber, Frederic. "Danny Elfman: Wunderkind of Music." Fanfare 1989.
• “It often feels like a tremendous amount of work is
required to get an idea moving forward, like pushing
a train uphill. But at a certain point, the thing takes
on its own momentum, and takes unexpected turns.
So it's that feeling of holding on, rather than pushing
it, that is the most exciting thing. It's that need to
occasionally bounce off the walls, letting anything
happen for any reason, and having nothing to guide
you that is the joy.”
― Danny Elfman