The Wolfman | ||||
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Film score by | ||||
Released | February 23, 2010 | |||
Recorded | 2009–2010 | |||
Genre | Film score | |||
Length | 66:05 | |||
Label | Varèse Sarabande | |||
Danny Elfman chronology | ||||
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The Wolfman (Original Motion Picture Soundtrack) is the score album to the 2010 film of the same name directed by Joe Johnston, which is a remake on the 1941 film The Wolf Man . The film initially had an original score composed by Danny Elfman, before it was rejected and Elfman eventually replaced by Australian musician Paul Haslinger. The studio then reverted back to Elfman's initial score composed for the film after they felt Haslinger's electronic score did not suit the film's setting and tone.
Elfman's score was then completed with the help of other composers, due to the former's commitments on Alice in Wonderland (2010). Varèse Sarabande released the album consisting of Elfman's score for the original cut for the film on February 23, 2010. The score was well received by critics.
In August 2008, Danny Elfman was announced as the film's composer. [1] [2] He was drawn to the project due to growing up on The Wolf Man and other monster characters. [3] Johnston wanted a score that was "atmospheric, stylish and narrative", and Elfman adhered to the former's instructions providing a dark, melodic and moody score. [3] However, the studio rejected the score after the film was cut down half an hour in length and the music became too repetitive. [4]
Due to the film's turbulent production, Elfman was unable to return to re-score the film due to contractual obligations to Tim Burton's Alice in Wonderland (2010). The producers eventually decided that rather than expand on his music with a new composer, a path that they would eventually take, they would instead attempt a completely different approach with a different composer which includes extensive reshooting of scenes. [3] The idea was to quicken the pace and strike a tone similar to the Underworld films, turning a slow-paced story into a much faster one. In November 2009, it was announced that Elfman's music had been discarded in favor of a new score by Paul Haslinger. [5] However, in January 2010, the producers switched back to Elfman's score after disliking Haslinger's electronic music. [6]
Johnston later elaborated on the change-up between musicians: Elfman's score had fit tonally for a previous cut of the film that was half an hour longer than the released version, however, the music became repetitive after the film was recut. To Johnston's dismay, a higher-up at NBC/Universal suggested re-scoring the film with an electronic-like score after seeing a new trailer of the film that utilized similar music. As a result, Haslinger was hired, and Johnston felt the new composer was given an impossible task, stating, "when we put his music to the picture, even though the music was working, it was so out of context with what you were seeing." [4] [7]
Conrad Pope, Edward Shearmur and Thomas Lindgren were brought in to shape Elfman's score for the film's final edit and also compose 15 minutes of new material. [8] British musician Lustmord further contributed additional music. [9]
Danny Elfman's version of The Wolfman score was officially released on February 23, 2010, 11 days after the film's release through Varèse Sarabande. The album consisted of the actual score Elfman made for the earlier edit, before it was temporarily rejected. Thus, the music in the final film was mostly different from the original work on the CD release, which reflected the first incarnation of the score. [10] A believed-to-be sample of Haslinger's rejected score was released around the same time, but was ultimately confirmed as false by record producer Ford A. Thaxton and Haslinger himself. [11]
Thomas Glorieux of Maintitles.net wrote "The Wolfman is a perfect score for a film, and realizing that this kind of quality music gets rejected is like saying you want to divorce from the perfect person." [12] Christian Clemmensen of Filmtracks.com called it as "a strong score as presented" and wrote "like Sleepy Hollow , it's easy to get the impression that The Wolfman will be a score that appeals more to die-hard Elfman fans than the mainstream". [13] James Christopher Monger of AllMusic wrote "there are enough genuine, Edward Scissorhands /Sleepy Hollow-inspired moments, where surprisingly memorable melody breaks through the graveyard dirt into the moonlit night, that there’s no denying that the listener is truly in the presence of a master audio storyteller." [14] The Hollywood Reporter wrote "Danny Elfman's reinstated score works awfully hard to inject excitement". [15] Tim Grierson of Screen Daily wrote "Danny Elfman's knowingly bombastic score recalls his work with long-time collaborator Tim Burton but without the usual vigour or panache." [16] James Southall of Movie Wave described it as "one of those glorious, darkly romantic gothic horror scores". [17] A. O. Scott of The New York Times called it as "throbbing" and "stabbing". [18]
No. | Title | Length |
---|---|---|
1. | "Wolf Suite, Pt. 1" | 4:12 |
2. | "Wolf Suite, Pt. 2" | 5:54 |
3. | "Prologue" | 2:57 |
4. | "Dear Mr. Talbot" | 1:45 |
5. | "Bad Moon Rising" | 0:59 |
6. | "Gypsy Massacre" | 2:23 |
7. | "Wake Up, Lawrence" | 5:16 |
8. | "The Funeral" | 4:13 |
9. | "The Healing Montage" | 2:49 |
10. | "First Transformation" | 3:30 |
11. | "You Must Go" | 3:46 |
12. | "The Antique Shop" | 3:32 |
13. | "Country Carnage" | 2:31 |
14. | "Be Strong" | 2:31 |
15. | "The Madhouse" | 5:32 |
16. | "Reflection / 2nd Transformation" | 4:11 |
17. | "The Traveling Montage" | 4:26 |
18. | "The Finale" | 4:11 |
19. | "Wolf Wild #2" | 1:27 |
Total length: | 66:05 |
Credits adapted from AllMusic: [19]
Instrumentation
Page LA Studio Voices
Management
Daniel Robert Elfman is an American film composer, singer, songwriter, and musician. He came to prominence as the lead vocalist and primary songwriter for the new wave band Oingo Boingo in the early 1980s. Since scoring his first studio film in 1985, Elfman has garnered international recognition for composing over 100 feature film scores, as well as compositions for television, stage productions, and the concert hall.
Pee-wee's Big Adventure is a 1985 American adventure comedy film directed by Tim Burton in his feature-film directing debut. The film stars Paul Reubens as Pee-wee Herman, along with E.G. Daily, Mark Holton, Diane Salinger and Judd Omen. The screenplay, written by Reubens with Phil Hartman and Michael Varhol, tells the story of Pee-wee's nationwide search for his stolen bicycle and has been compared to the 1948 film Bicycle Thieves.
Brian Williams is a Welsh musician, sound designer and film score composer. He has released albums under the name Lustmord starting in the 1980s and through the present.
The orchestral score of Lost is composed, orchestrated, and produced by Michael Giacchino and has been released on a series of soundtrack albums by Varèse Sarabande. It was conducted by Tim Simonec.
X-Men: The Last Stand – Original Motion Picture Soundtrack was composed by John Powell. It was released on May 23, 2006 by Varèse Sarabande and Fox Music. X-Men: The Last Stand was the third film in the series, and Powell was the third composer used following Michael Kamen and John Ottman.
The Wolfman is a 2010 American gothic horror film directed by Joe Johnston, from a screenplay by Andrew Kevin Walker and David Self. A remake of the 1941 film of the same name, it stars Benicio del Toro, Anthony Hopkins, Emily Blunt and Hugo Weaving. The film’s story follows an actor based in America who, after his brother's brutal murder, returns to his ancestral homeland in England, where he gets bitten by a werewolf and is cursed to become one.
Paul Haslinger is an Austrian musician and composer. He lives and works in Los Angeles, California.
Forbidden Zone (Original Motion Picture Soundtrack) is the soundtrack album to Forbidden Zone, the 1982 cult film directed by Richard Elfman, with music by his brother Danny Elfman and performed by The Mystic Knights of the Oingo Boingo.
Speed Racer: Original Motion Picture Score is the soundtrack of the film of the same name, which is based on the Japanese anime and manga series Speed Racer by Tatsunoko Productions. The score was composed by Michael Giacchino. It was originally released on May 6, 2008 by Varèse Sarabande. In Japan, it was released by Geneon Entertainment on June 25, 2008.
Dragonball Evolution: Original Motion Picture Soundtrack is the soundtrack album to the 2009 Twentieth Century Fox film Dragonball Evolution, directed by James Wong, by composer Brian Tyler. It was released on March 17, 2009 in the United States, on March 30, 2009 in Europe, and on April 15, 2009 in Japan.
Conrad Pope is an American composer and orchestrator. He has worked on numerous films and has collaborated with composers such as John Williams, James Newton Howard, Alan Silvestri, Danny Elfman, Mark Isham, James Horner, John Powell, Alexandre Desplat, and Howard Shore.
Select commercially released recordings of Danny Elfman's music for film, television, stage and the concert hall. For a full list of Elfman's compositions, see List of compositions by Danny Elfman. For Elfman's recordings as lead singer/songwriter for Oingo Boingo, see the Oingo Boingo discography page.
Oz the Great and Powerful (Original Motion Picture Soundtrack) is the soundtrack album to the 2013 film of the same name, produced by Walt Disney Pictures. The film is directed by Sam Raimi, and featured musical score composed by Danny Elfman. The score was recorded at Sony Scoring Stage and the album featured 27 tracks with a promotional single titled "Almost Home" performed by American singer-songwriter Mariah Carey. The soundtrack was released by Walt Disney Records on March 5, 2013, followed by a physical CD release in association with Intrada Records on March 26.
Alice in Wonderland (An Original Walt Disney Records Soundtrack) is the score album to the 2010 film Alice in Wonderland directed by Tim Burton and produced by Walt Disney Pictures, which is a live-action adaptation of Disney's 1951 film and re-imagining of Lewis Carroll's works. The film's original score is composed by Danny Elfman, a regular collaborator of Burton.
The music to the 2011 science fiction sports drama film Real Steel directed by Shawn Levy, featured a compilation of songs by popular artists as heard in the film and an album that contains the original score written and composed by Danny Elfman. The first album, Real Steel – Music from the Motion Picture, was released on October 4, 2011 by Interscope Records. It consists of 13 tracks featuring artists including Foo Fighters, Tom Morello, Eminem, Royce da 5'9", The Crystal Method, Yelawolf, 50 Cent and Limp Bizkit. Elfman's score that featured over 17 tracks, was released into a separate album as Real Steel – Original Score on November 8, 2011 by Varèse Sarabande.
Milk (Original Motion Picture Soundtrack) is the soundtrack to the 2008 film of the same name, featuring musical score composed by Danny Elfman and a selection of contemporary pop hits. The album was released on November 18, 2008 through Decca Records to critical acclaim and received nominations at various ceremonies, including an Academy Award nomination.
The A-Team: Original Motion Picture Soundtrack is the soundtrack to the 2010 film The A-Team directed by Joe Carnahan, based on the 1980s television series of the same name created by Frank Lupo and Stephen J. Cannell. The film's musical score is composed by Alan Silvestri and released on June 21, 2010 through the Varèse Sarabande label.
Men in Black II (Music from the Motion Picture) is the soundtrack to the 2002 film Men in Black II directed by Barry Sonnenfeld; a sequel to Men in Black (1997) and the second instalment in the eponymous film trilogy starring Will Smith and Tommy Lee Jones, reprising their roles from the predecessor. The soundtrack released through Columbia Records on June 25, 2002 and featured original score composed by Danny Elfman and three songs—"Black Suits Comin' (Nod Ya Head)" by Will Smith and Trā-Knox, "Who Let the Dogs Out" by Baha Men and "I Will Survive" by Tim Blaney—the former of which was released as a single on May 13, 2002.
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