When one talks about the greats in movie music composing the name Danny Elfman invariably comes up. His collaborations with Sam Raimi, Gus Van Sant and the creation of The Simpsons unmistakable theme song have made his name synonymous with great works.
Though its his collaborations with visionary director Tim Burton that has brought him his most acclaim. From his starring role in The Nightmare Before Christmas to his Oscar nominated score for Big Fish their names have been eternally linked together.
Now they have collaborated again on the score and original songs for Tim Burtons Corpse Bride. Not only did Elfman create a wonderful and romantic score but he wrote and sang one of the best songs in the film, Remains of the Day, as the skeleton man Bonejangles.
Check out the official site for Tim Burtons Corpse Bride
Daniel Robert Epstein: I was the guy at the Toronto Film Festival who asked what the best music concert you ever went to was. You said you went to Jimi Hendrixs last show, what was that like?
Danny Elfman: I only half remember it because it was at the end of his three day Idlewild thing. I dont know for a fact that it was his very last concert but I know that he died quite soon thereafter. So I can say it was one of his last concerts.
DRE: Close enough.
DE: I was exhausted and muddy and tired and it was like definitely really amazing. But my memory of the last day of Idlewild is all just a little bit fuzzy at this point.
DRE: Im sure it was fuzzy even then.
DE: I think I was only 16
DRE: Of course were talking about Corpse Bride. Warner Bros seems to be much more behind this one than Disney was behind Nightmare Before Christmas. How did that change things for you?
DE: In the making of the film theres no difference. Tim [Burton] keeps his projects far away from studio interference. He did Nightmare in San Francisco and he did Corpse Bride in London and both productions were very much on their own but there was a big difference in the feeling at the end. Unfortunately with Nightmare Disney got the impression that they had a horrible flop that nobody wanted to see and the kids hated it based on a preview. It was disheartening because you felt all their support just disappear. They stopped all the merchandising, they just cut it cold and when youre working really hard for two years on something its really difficult when you see the studio and the producers just totally distance themselves from it.
DRE: Youve worked with so many filmmakers at this point. Whats it like working with someone like Tim who is given so much freedom within the studio system?
DE: Working with Tim is just like working with Tim. Its a regular thing for me. Its always both easy and difficult than working with other directors. Its easier in a sense I know Im going to be able to do some really fun stuff and getting inside his head is such an interesting place to be. It can be difficult insofar as he can be very difficult to nail down and pull him into the musical world. Hes not a pushover. With some directors I will get an automatic yes. But Tim will get very specific and wait for things to hit him a certain way. Sometimes things will hit him strangely or odd. Sometimes we have to go through a bit of a journey to get to where were going to get to. But the good thing about working with Tim is that I know however that journey is, difficult or not, Im always going to be pleased at the end. Its never a waste of time.
DRE: What film is harder when it comes to working with Tim, is it something like Big Fish which deals with a lot of complex underlying emotions?
DE: The complex part sometimes is really just Tims own complexity. Hes not a simple guy so arriving at a certain place isnt necessarily automatic or simple. I think sometimes we have to take a little bit of a circular journey and find what the musical heart and the tone of the film is. These are not the films where it is real easy to walk in and go Oh yeah, yeah, I know exactly what that is. Thats a piece of cake. They very rarely would fall into that category.
DRE: I remember at the press conference in Toronto you had said that you did not want to sing originally in Corpse Bride. Did you do a temp track and like it?
DE: No, I did a temp because I do a complete temp version of everything. They had it for a long time and were storyboarding to it. When it came time to produce the song, Id written it for another voice. Thats what happened. I imagined a different voice much rougher than mine. We put a ton of effort into finding a voice and we did auditions in London and New York. It was a big deal. I recorded three different singers but Tim called and said, You know, I still like the temp better. Would you mind doing the song? So I did, the thing was I could sing Jack Skellingtons parts for days but Bonejangles is the a voice thats really difficult for me to do. It was a challenge. His voice was a much rougher voice than Jacks would be.
DRE: I read Mel Blancs biography and he said after doing Yosemite Sam he would have to drink tea and relax his voice for a few days.
DE: Yeah, it was like that with Bonejangles for me. I could only sing for 20 minutes then my throat would be completely trashed and Id have to stop. Then I had to go back in like three times because they kept making changes to the storyboards so I had to redo some of it. It was tons of fun, but painful.
DRE: When you went to the set of Corpse Bride, what did that do for your songwriting process?
DE: Nothing because the songs were done before there were things to look at. When I wrote the songs there was nothing but Tims pictures. They couldnt start animating until there was a finished song. It was always really fun going onto the set, but when I was doing the songs I primarily had Tims drawings.
DRE: When you see a very skinny character like Victor, would you write a song for him that doesnt have a lot of bass in it? Or does it not make a difference what the character looks like?
DE: Early on before I saw anything I wrote these piano solos for Victor. So already at the very beginning I had come up with a theme. But Victor doesnt actually sing in the movie although he did originally have a song but that didnt survive. But I would just think about what they were singing about and just have fun. Just like on Nightmare.
DRE: How much did you deal with [Corpse Bride] co-director Mike Johnson?
DE: A lot because when I was starting to work on the bigger songs like Remains of the Day and the Wedding Song I had to sit and do a lot of jawboning with him and all the storyboard artists. We would talk through different ideas and then I would write down lots of notes. Based on that I would go off and start writing tunes and when I finished a tune I would just work with Tim. Then when Tim and I were in sync we would turn the tune over to the production.
DRE: Since Corpse Bride was a lower budgeted film, did you still use a full orchestra?
DE: Yeah it was a full orchestra. Not as big as the orchestra for Charlie [and the Chocolate Factory], but its probably a little closer to the size of the orchestra in Nightmare or in-between. I didnt really feel like I needed a really large orchestra, but it wasnt a small one either. I think it was just normal.
DRE: Is it a budget that dictates the size of an orchestra or is it the scale and scope of the film?
DE: In both Corpse Bride and Charlie it was the scale and scope of the film. For Nightmare I wanted a smaller orchestra. I didnt want a big orchestral sound. Since Corpse Bride was a more romantic score, originally I was going to use a similar thing to Nightmare, but then I ended up adding a slightly bigger orchestra because I felt like I needed a bigger string section.
DRE: When other directors call you, what is it they want from you?
DE: I have no idea. Believe me, I have no idea why anybody hires me ever and Im often surprised that they do. Youd have to ask the directors. Im sure its because they heard something in some film score that I did that made them think, Oh, I like that. I can only imagine that thats the case. Very few directors have told me specifically.
DRE: After something like Good Will Hunting, did smaller scale films come your way?
DE: I cant say it that a whole lot more did or maybe they did and I just didnt really know. Once I book up a year, I dont really know what films do come my way because they dont get to me. If Im already hired on a film I may get four more film offers but Im not going to know about it. Theyll simply be told that Im unavailable for this period of time. I never do scores that are overlapping. Its actually impossible to do that unless youre willing to hire other people.
DRE: Have you heard of SuicideGirls?
DE: Yeah, I saw it last night. Its pretty fun and wild.
DRE: How many Goth and punk fans do you see nowadays since youre not touring?
DE: Well, I dont. Except when I was in Japan with Tim a couple weeks ago and we spent like a great evening in a Goth club. It was almost like a Nightmare Before Christmas club really. First I was spooked because as I was walking up into the club I heard the music and it was me singing a Jack Skellington tune. I wanted to leave but then Tim was like, No, lets stay a while and check it out. It ended up being really fun. But thats like the first exposure Ive had with that element in ages.
DRE: Both you and Tim come off a little Goth even though you were both older when it first hit big. Were you ever like that?
DE: No, I was never like anything. When I started in the 1970s I was only into music recorded before 1935. So I was a freak. Im closer to some weird film/music nerd than like some punk or Goth. Then suddenly I wanted to be in a ska band and I did this weird musical theater for years. I got all these different incarnations. But Ive never been a punk or a Goth. I think Ive just been a nerd with these weird musical styles.
DRE: Do you have any desire to play live music anymore?
DE: Not really. Let me put it this way, I have no desire ever to be on an Oingo Boingo stage again.
DRE: Why not?
DE: I cant get in front of a stage that loud again. I spent 17 years in a band in front of monitors and it fucked up my ears. It was insanely loud. I was standing in front of four monitors blasting my own voice into my head which has to be louder than the band to be able to sing and hear yourself during these fucking two and a half, three hour shows. Then it all has to be louder than 6000 screaming audience members. Believe me when I say this, it was louder than anything you can imagine. I really got to the point where if I stayed in that environment any longer I would be deaf right now.
DRE: Obviously, that would be highly detrimental to you.
DE: Yeah and as a result Ive gotten some pretty shitty hearing levels. Which is a big problem and its gotten to be a worse problem as I go. I cant even take really loud clubs anymore. If I walk into a restaurant or a club where its loud it physically hurts. It feels like Im getting daggers in my head.
DRE: Supposedly about 12 years ago you and Tim had a fight and thats why you ended up not scoring Ed Wood, is that an exaggeration?
DE: No, we had one big blow up in our 20 years together and that is true about Ed Wood. We were very upset and we both said wed never speak to each other again. It was one of those moments. But with Tim and I, its almost like a family thing. Now with the wisdom of age and hindsight, over a two decade period with our personalities being what they are, its inevitable that wed have to have some meltdown somewhere.
DRE: It had been about ten years up to that point.
DE: Yeah and we used to joke that wed end up like Bernard Herrmann and Alfred Hitchcock and sure enough, we did. But fortunately, this is where the family thing comes in, we never disagreed over a piece of music. Let me put it that way.
DRE: It was just over probably nothing.
DE: Its too complex to even get into. But these things are never over about one thing. It was probably something that had been building up for years and had to explode. In the year and a half or so that Tim and I didnt speak, I felt really shitty. It turned out that he didnt feel very good about it either. So thats where the family thing comes in because Ive had fights with my own brother where I vowed Id never speak to him again. But in the end youre family and you find yourself missing that person. Thats absolutely what happened with Tim. So it was gratifying to find out that we both felt the same way. While Tim was shooting Mars Attacks, I got this call from a producer saying, Will Danny ever consider speaking to Tim again? I was on a plane the next day. We met in a coffee shop in Kansas, hugged, sat down and said, That was fucked up. He said Lets forget the whole thing and just move on from this discussion. I said Absolutely. We never spoke of it again and weve never had any personal issues again.
DRE: On purpose or has it just never come up again?
DE: I think it was a learning experience so now I think were probably both a little more cautious. Were both really passionate about what we do so you get smarter about stuff like that. Its like a marriage. You go through like a big horrible break up so you get together and you really dont want that to happen again. Then when you feel your emotions getting all worked up and intense, you step back.
DRE: What do you think of the score to Ed Wood?
DE: I didnt really know what to make of it. The whole thing was just weird, so I didnt really have any objective opinion. I never was even able to like watch the whole thing in one sitting. It just represented a really nasty period. Once again, if youre in a marriage and there was something in the center of that whole thing, a part of you will never be able to just go and look at that thing because its always going to remind you of that really nasty period.
That was a particularly intense time because Id been on Nightmare for two and a half years then did Batman Returns in the middle of that. It was all this overlapping stuff and a lot of frustrations just blew up. But Ive had different kinds of disagreements with different directors over the years and there are directors who I dont want to work with anymore but as intense as it was Ive never had an unworkable disagreement with Tim over a piece of music. At the end of the day I always got to remember that. Ive always come out of a Tim Burton movie feeling good even with some of the ones that were really difficult to work on.
DRE: I read that you have a couple screenplays.
DE: I have a musical that Disney bought, another musical at Fox that l wrote years ago and I have a non-musical ghost film that I wrote for Warner Bros, that has been in turnaround for 12 years. But I just got it out of turnaround this year. As a result of doing Charlie and Corpse Bride part of my deal was to get the script back. But I wrote another one which were looking for money now.
DRE: Did you write these films by yourself?
DE: Yeah. The first one I wrote, the ghost story takes place in an orphanage in Italy at the end of World War II. It is a fun little story about this little kid and the ghost that is pursuing him. The last one I wrote is about this incredible true story in Key West, Florida in the 30s and 40s about a doctor who lived with his dead lover for seven years and then was caught and had a sensational trial. A huge trial and it just was too incredible a story to pass up. But its, as you can imagine, a difficult sell. The movie is an old guy and a corpse and unlike the Corpse Bride its not a beautiful animated woman who lives in a wonderful, jazzy world. Its all these internal things inside his head. This incredible obsessive love that he had for this woman.
DRE: Are these things that you would like to direct?
DE: Yeah.
DRE: Would you ever consider doing it on a low budget like your brother does?
DE: I wrote this last one to be a lower budget movie. But the first ones I wrote were between like 12 and 20 million to make them. This last one I tried to do something that could be done for closer to five. But getting five million for a film that odd is still not an easy call. But were working on it.
DRE: Literally two hours ago I spoke to the director of the new Johnny Cash movie Walk the Line [James Mangold], what would the Oingo Boingo biopic be like?
DE: I think it would be really boring.
DRE: Because youre all still alive?
DE: Well and Oingo Boingo really didnt have that wild life. In real life the members of Oingo Boingo were not crazy rock and rollers doing extraordinary stuff. Ten of the years I was in Oingo Boingo I was scoring films so my life would have been the most boring one on the planet.
DRE: The movie Back to School had a pretty impressive cast, on top of Rodney Dangerfield and Robert Downey Jr., Kurt Vonnegut had a small role. You and the band had a small role in that, how was that?
DE: It was just a quick thing. I cant even remember if it was one or two days. It was funny because Robert Downey Jr. was sitting there at a mock mixing board and we were essentially lip synching the tune.
DRE: I read how youre not going to work on Spider-Man 3. Do you want to comment on that?
DE: Let me put it this way, there is no amount of money that anybody could offer me to do Spider-Man 3. I would sooner go back to bussing tables.
DRE: I look on the IMDB and I see six people credited with the music on Spider-Man 2. Did that contribute to your feelings?
DE: Its all about how the production went completely insane at the end. It was the worst film experience Ive had in 20 years. It was all pure insanity, it was all completely needless and in the end they went nuts trying to imitate every single note of their temp score. If I think somebodys obsessively attached to a temp score in any way Id stay away from it. But this was the worst Ive seen times ten and Ive worked with some pretty anal directors. Warren Beatty and Martin Brest are not easy people but this was taking anal retentive to a new extreme.
DRE: Its odd because Sam Raimi is a guy youve been working with for 15 years.
DE: Sam was not there.
He was there, but he was not the Sam that I knew. As you said, Ive known Sam for almost 15 years. It was my fifth movie with him and all I can say is that the person who was there at the end of Spider-Man 2 was not Sam. I dont know who it was, but it wasnt Sam. It was as close to living out Invasion of the Body Snatchers, as Ive ever experienced. Theres a lot of micro-managers out there. Tims a micro-manager musically in his own way and theres moments where hell get real obsessive over a certain cue. But we work it out. Never in 20 years have I come across a situation where I couldnt work it out. For a director to be a micro-manager is nothing new. If anything I would say most of them are. But to get to the level where you dont need a composer, you just need a musical arranger to adapt note for note as close as possible. Theres nothing for me to do as a composer here.
DRE: Would you work with Sam again?
DE: Not if I can help it.
Its too bad because Sam was at the top of my list. He was actually even easier than Tim to work with and wed never had a disagreement. To see such a profound negative change in a human being was almost enough to make me feel like I didnt want to make films anymore. It was really disheartening and sad to see the way it ended up. The end of Spider-Man 2 was a self-induced hysteria. It got to a point where I couldnt even adapt my own music close enough because two thirds of their temp score was Spider-Man 1. If I varied from one note it was like a self-induced hysteria.
DRE: Thats bizarre.
DE: They wanted this one cue that was basically from Hellraiser and I was like I cant get any closer and Im not going to imitate [Hellraiser composer] Christopher Young. Go fucking hire Christopher Young. So they hired Christopher Young to do a cue like Hellraiser and he couldnt get close enough to Hellraiser so they ended up licensing the cue from Hellraiser.
DRE: What are you doing now?
DE: Im moving on to Charlottes Web. Ironically another singing spider.
DRE: Does that have songs in it?
DE: Well theres just one song, a lullaby. The mother sings it to the child, and then Charlotte sings to Wilbur the pig.
DRE: Have you worked with Gary Winick before?
DE: No, Ive actually just met him once in New York. We only talked on the phone and I just knew that Charlottes Web is a real classic story.
DRE: I love that book so much.
DE: I havent seen a frame yet and Im just praying that it comes out good. Theres just no way to tell at this point other than its great potential. Obviously this is a big stretch going into this world of animals and CG combined with live action. But I really liked Tadpole so I think hes talented and Im really curious to see what he came up with.
by Daniel Robert Epstein
SG Username: AndersWolleck
Though its his collaborations with visionary director Tim Burton that has brought him his most acclaim. From his starring role in The Nightmare Before Christmas to his Oscar nominated score for Big Fish their names have been eternally linked together.
Now they have collaborated again on the score and original songs for Tim Burtons Corpse Bride. Not only did Elfman create a wonderful and romantic score but he wrote and sang one of the best songs in the film, Remains of the Day, as the skeleton man Bonejangles.
Check out the official site for Tim Burtons Corpse Bride
Daniel Robert Epstein: I was the guy at the Toronto Film Festival who asked what the best music concert you ever went to was. You said you went to Jimi Hendrixs last show, what was that like?
Danny Elfman: I only half remember it because it was at the end of his three day Idlewild thing. I dont know for a fact that it was his very last concert but I know that he died quite soon thereafter. So I can say it was one of his last concerts.
DRE: Close enough.
DE: I was exhausted and muddy and tired and it was like definitely really amazing. But my memory of the last day of Idlewild is all just a little bit fuzzy at this point.
DRE: Im sure it was fuzzy even then.
DE: I think I was only 16
DRE: Of course were talking about Corpse Bride. Warner Bros seems to be much more behind this one than Disney was behind Nightmare Before Christmas. How did that change things for you?
DE: In the making of the film theres no difference. Tim [Burton] keeps his projects far away from studio interference. He did Nightmare in San Francisco and he did Corpse Bride in London and both productions were very much on their own but there was a big difference in the feeling at the end. Unfortunately with Nightmare Disney got the impression that they had a horrible flop that nobody wanted to see and the kids hated it based on a preview. It was disheartening because you felt all their support just disappear. They stopped all the merchandising, they just cut it cold and when youre working really hard for two years on something its really difficult when you see the studio and the producers just totally distance themselves from it.
DRE: Youve worked with so many filmmakers at this point. Whats it like working with someone like Tim who is given so much freedom within the studio system?
DE: Working with Tim is just like working with Tim. Its a regular thing for me. Its always both easy and difficult than working with other directors. Its easier in a sense I know Im going to be able to do some really fun stuff and getting inside his head is such an interesting place to be. It can be difficult insofar as he can be very difficult to nail down and pull him into the musical world. Hes not a pushover. With some directors I will get an automatic yes. But Tim will get very specific and wait for things to hit him a certain way. Sometimes things will hit him strangely or odd. Sometimes we have to go through a bit of a journey to get to where were going to get to. But the good thing about working with Tim is that I know however that journey is, difficult or not, Im always going to be pleased at the end. Its never a waste of time.
DRE: What film is harder when it comes to working with Tim, is it something like Big Fish which deals with a lot of complex underlying emotions?
DE: The complex part sometimes is really just Tims own complexity. Hes not a simple guy so arriving at a certain place isnt necessarily automatic or simple. I think sometimes we have to take a little bit of a circular journey and find what the musical heart and the tone of the film is. These are not the films where it is real easy to walk in and go Oh yeah, yeah, I know exactly what that is. Thats a piece of cake. They very rarely would fall into that category.
DRE: I remember at the press conference in Toronto you had said that you did not want to sing originally in Corpse Bride. Did you do a temp track and like it?
DE: No, I did a temp because I do a complete temp version of everything. They had it for a long time and were storyboarding to it. When it came time to produce the song, Id written it for another voice. Thats what happened. I imagined a different voice much rougher than mine. We put a ton of effort into finding a voice and we did auditions in London and New York. It was a big deal. I recorded three different singers but Tim called and said, You know, I still like the temp better. Would you mind doing the song? So I did, the thing was I could sing Jack Skellingtons parts for days but Bonejangles is the a voice thats really difficult for me to do. It was a challenge. His voice was a much rougher voice than Jacks would be.
DRE: I read Mel Blancs biography and he said after doing Yosemite Sam he would have to drink tea and relax his voice for a few days.
DE: Yeah, it was like that with Bonejangles for me. I could only sing for 20 minutes then my throat would be completely trashed and Id have to stop. Then I had to go back in like three times because they kept making changes to the storyboards so I had to redo some of it. It was tons of fun, but painful.
DRE: When you went to the set of Corpse Bride, what did that do for your songwriting process?
DE: Nothing because the songs were done before there were things to look at. When I wrote the songs there was nothing but Tims pictures. They couldnt start animating until there was a finished song. It was always really fun going onto the set, but when I was doing the songs I primarily had Tims drawings.
DRE: When you see a very skinny character like Victor, would you write a song for him that doesnt have a lot of bass in it? Or does it not make a difference what the character looks like?
DE: Early on before I saw anything I wrote these piano solos for Victor. So already at the very beginning I had come up with a theme. But Victor doesnt actually sing in the movie although he did originally have a song but that didnt survive. But I would just think about what they were singing about and just have fun. Just like on Nightmare.
DRE: How much did you deal with [Corpse Bride] co-director Mike Johnson?
DE: A lot because when I was starting to work on the bigger songs like Remains of the Day and the Wedding Song I had to sit and do a lot of jawboning with him and all the storyboard artists. We would talk through different ideas and then I would write down lots of notes. Based on that I would go off and start writing tunes and when I finished a tune I would just work with Tim. Then when Tim and I were in sync we would turn the tune over to the production.
DRE: Since Corpse Bride was a lower budgeted film, did you still use a full orchestra?
DE: Yeah it was a full orchestra. Not as big as the orchestra for Charlie [and the Chocolate Factory], but its probably a little closer to the size of the orchestra in Nightmare or in-between. I didnt really feel like I needed a really large orchestra, but it wasnt a small one either. I think it was just normal.
DRE: Is it a budget that dictates the size of an orchestra or is it the scale and scope of the film?
DE: In both Corpse Bride and Charlie it was the scale and scope of the film. For Nightmare I wanted a smaller orchestra. I didnt want a big orchestral sound. Since Corpse Bride was a more romantic score, originally I was going to use a similar thing to Nightmare, but then I ended up adding a slightly bigger orchestra because I felt like I needed a bigger string section.
DRE: When other directors call you, what is it they want from you?
DE: I have no idea. Believe me, I have no idea why anybody hires me ever and Im often surprised that they do. Youd have to ask the directors. Im sure its because they heard something in some film score that I did that made them think, Oh, I like that. I can only imagine that thats the case. Very few directors have told me specifically.
DRE: After something like Good Will Hunting, did smaller scale films come your way?
DE: I cant say it that a whole lot more did or maybe they did and I just didnt really know. Once I book up a year, I dont really know what films do come my way because they dont get to me. If Im already hired on a film I may get four more film offers but Im not going to know about it. Theyll simply be told that Im unavailable for this period of time. I never do scores that are overlapping. Its actually impossible to do that unless youre willing to hire other people.
DRE: Have you heard of SuicideGirls?
DE: Yeah, I saw it last night. Its pretty fun and wild.
DRE: How many Goth and punk fans do you see nowadays since youre not touring?
DE: Well, I dont. Except when I was in Japan with Tim a couple weeks ago and we spent like a great evening in a Goth club. It was almost like a Nightmare Before Christmas club really. First I was spooked because as I was walking up into the club I heard the music and it was me singing a Jack Skellington tune. I wanted to leave but then Tim was like, No, lets stay a while and check it out. It ended up being really fun. But thats like the first exposure Ive had with that element in ages.
DRE: Both you and Tim come off a little Goth even though you were both older when it first hit big. Were you ever like that?
DE: No, I was never like anything. When I started in the 1970s I was only into music recorded before 1935. So I was a freak. Im closer to some weird film/music nerd than like some punk or Goth. Then suddenly I wanted to be in a ska band and I did this weird musical theater for years. I got all these different incarnations. But Ive never been a punk or a Goth. I think Ive just been a nerd with these weird musical styles.
DRE: Do you have any desire to play live music anymore?
DE: Not really. Let me put it this way, I have no desire ever to be on an Oingo Boingo stage again.
DRE: Why not?
DE: I cant get in front of a stage that loud again. I spent 17 years in a band in front of monitors and it fucked up my ears. It was insanely loud. I was standing in front of four monitors blasting my own voice into my head which has to be louder than the band to be able to sing and hear yourself during these fucking two and a half, three hour shows. Then it all has to be louder than 6000 screaming audience members. Believe me when I say this, it was louder than anything you can imagine. I really got to the point where if I stayed in that environment any longer I would be deaf right now.
DRE: Obviously, that would be highly detrimental to you.
DE: Yeah and as a result Ive gotten some pretty shitty hearing levels. Which is a big problem and its gotten to be a worse problem as I go. I cant even take really loud clubs anymore. If I walk into a restaurant or a club where its loud it physically hurts. It feels like Im getting daggers in my head.
DRE: Supposedly about 12 years ago you and Tim had a fight and thats why you ended up not scoring Ed Wood, is that an exaggeration?
DE: No, we had one big blow up in our 20 years together and that is true about Ed Wood. We were very upset and we both said wed never speak to each other again. It was one of those moments. But with Tim and I, its almost like a family thing. Now with the wisdom of age and hindsight, over a two decade period with our personalities being what they are, its inevitable that wed have to have some meltdown somewhere.
DRE: It had been about ten years up to that point.
DE: Yeah and we used to joke that wed end up like Bernard Herrmann and Alfred Hitchcock and sure enough, we did. But fortunately, this is where the family thing comes in, we never disagreed over a piece of music. Let me put it that way.
DRE: It was just over probably nothing.
DE: Its too complex to even get into. But these things are never over about one thing. It was probably something that had been building up for years and had to explode. In the year and a half or so that Tim and I didnt speak, I felt really shitty. It turned out that he didnt feel very good about it either. So thats where the family thing comes in because Ive had fights with my own brother where I vowed Id never speak to him again. But in the end youre family and you find yourself missing that person. Thats absolutely what happened with Tim. So it was gratifying to find out that we both felt the same way. While Tim was shooting Mars Attacks, I got this call from a producer saying, Will Danny ever consider speaking to Tim again? I was on a plane the next day. We met in a coffee shop in Kansas, hugged, sat down and said, That was fucked up. He said Lets forget the whole thing and just move on from this discussion. I said Absolutely. We never spoke of it again and weve never had any personal issues again.
DRE: On purpose or has it just never come up again?
DE: I think it was a learning experience so now I think were probably both a little more cautious. Were both really passionate about what we do so you get smarter about stuff like that. Its like a marriage. You go through like a big horrible break up so you get together and you really dont want that to happen again. Then when you feel your emotions getting all worked up and intense, you step back.
DRE: What do you think of the score to Ed Wood?
DE: I didnt really know what to make of it. The whole thing was just weird, so I didnt really have any objective opinion. I never was even able to like watch the whole thing in one sitting. It just represented a really nasty period. Once again, if youre in a marriage and there was something in the center of that whole thing, a part of you will never be able to just go and look at that thing because its always going to remind you of that really nasty period.
That was a particularly intense time because Id been on Nightmare for two and a half years then did Batman Returns in the middle of that. It was all this overlapping stuff and a lot of frustrations just blew up. But Ive had different kinds of disagreements with different directors over the years and there are directors who I dont want to work with anymore but as intense as it was Ive never had an unworkable disagreement with Tim over a piece of music. At the end of the day I always got to remember that. Ive always come out of a Tim Burton movie feeling good even with some of the ones that were really difficult to work on.
DRE: I read that you have a couple screenplays.
DE: I have a musical that Disney bought, another musical at Fox that l wrote years ago and I have a non-musical ghost film that I wrote for Warner Bros, that has been in turnaround for 12 years. But I just got it out of turnaround this year. As a result of doing Charlie and Corpse Bride part of my deal was to get the script back. But I wrote another one which were looking for money now.
DRE: Did you write these films by yourself?
DE: Yeah. The first one I wrote, the ghost story takes place in an orphanage in Italy at the end of World War II. It is a fun little story about this little kid and the ghost that is pursuing him. The last one I wrote is about this incredible true story in Key West, Florida in the 30s and 40s about a doctor who lived with his dead lover for seven years and then was caught and had a sensational trial. A huge trial and it just was too incredible a story to pass up. But its, as you can imagine, a difficult sell. The movie is an old guy and a corpse and unlike the Corpse Bride its not a beautiful animated woman who lives in a wonderful, jazzy world. Its all these internal things inside his head. This incredible obsessive love that he had for this woman.
DRE: Are these things that you would like to direct?
DE: Yeah.
DRE: Would you ever consider doing it on a low budget like your brother does?
DE: I wrote this last one to be a lower budget movie. But the first ones I wrote were between like 12 and 20 million to make them. This last one I tried to do something that could be done for closer to five. But getting five million for a film that odd is still not an easy call. But were working on it.
DRE: Literally two hours ago I spoke to the director of the new Johnny Cash movie Walk the Line [James Mangold], what would the Oingo Boingo biopic be like?
DE: I think it would be really boring.
DRE: Because youre all still alive?
DE: Well and Oingo Boingo really didnt have that wild life. In real life the members of Oingo Boingo were not crazy rock and rollers doing extraordinary stuff. Ten of the years I was in Oingo Boingo I was scoring films so my life would have been the most boring one on the planet.
DRE: The movie Back to School had a pretty impressive cast, on top of Rodney Dangerfield and Robert Downey Jr., Kurt Vonnegut had a small role. You and the band had a small role in that, how was that?
DE: It was just a quick thing. I cant even remember if it was one or two days. It was funny because Robert Downey Jr. was sitting there at a mock mixing board and we were essentially lip synching the tune.
DRE: I read how youre not going to work on Spider-Man 3. Do you want to comment on that?
DE: Let me put it this way, there is no amount of money that anybody could offer me to do Spider-Man 3. I would sooner go back to bussing tables.
DRE: I look on the IMDB and I see six people credited with the music on Spider-Man 2. Did that contribute to your feelings?
DE: Its all about how the production went completely insane at the end. It was the worst film experience Ive had in 20 years. It was all pure insanity, it was all completely needless and in the end they went nuts trying to imitate every single note of their temp score. If I think somebodys obsessively attached to a temp score in any way Id stay away from it. But this was the worst Ive seen times ten and Ive worked with some pretty anal directors. Warren Beatty and Martin Brest are not easy people but this was taking anal retentive to a new extreme.
DRE: Its odd because Sam Raimi is a guy youve been working with for 15 years.
DE: Sam was not there.
He was there, but he was not the Sam that I knew. As you said, Ive known Sam for almost 15 years. It was my fifth movie with him and all I can say is that the person who was there at the end of Spider-Man 2 was not Sam. I dont know who it was, but it wasnt Sam. It was as close to living out Invasion of the Body Snatchers, as Ive ever experienced. Theres a lot of micro-managers out there. Tims a micro-manager musically in his own way and theres moments where hell get real obsessive over a certain cue. But we work it out. Never in 20 years have I come across a situation where I couldnt work it out. For a director to be a micro-manager is nothing new. If anything I would say most of them are. But to get to the level where you dont need a composer, you just need a musical arranger to adapt note for note as close as possible. Theres nothing for me to do as a composer here.
DRE: Would you work with Sam again?
DE: Not if I can help it.
Its too bad because Sam was at the top of my list. He was actually even easier than Tim to work with and wed never had a disagreement. To see such a profound negative change in a human being was almost enough to make me feel like I didnt want to make films anymore. It was really disheartening and sad to see the way it ended up. The end of Spider-Man 2 was a self-induced hysteria. It got to a point where I couldnt even adapt my own music close enough because two thirds of their temp score was Spider-Man 1. If I varied from one note it was like a self-induced hysteria.
DRE: Thats bizarre.
DE: They wanted this one cue that was basically from Hellraiser and I was like I cant get any closer and Im not going to imitate [Hellraiser composer] Christopher Young. Go fucking hire Christopher Young. So they hired Christopher Young to do a cue like Hellraiser and he couldnt get close enough to Hellraiser so they ended up licensing the cue from Hellraiser.
DRE: What are you doing now?
DE: Im moving on to Charlottes Web. Ironically another singing spider.
DRE: Does that have songs in it?
DE: Well theres just one song, a lullaby. The mother sings it to the child, and then Charlotte sings to Wilbur the pig.
DRE: Have you worked with Gary Winick before?
DE: No, Ive actually just met him once in New York. We only talked on the phone and I just knew that Charlottes Web is a real classic story.
DRE: I love that book so much.
DE: I havent seen a frame yet and Im just praying that it comes out good. Theres just no way to tell at this point other than its great potential. Obviously this is a big stretch going into this world of animals and CG combined with live action. But I really liked Tadpole so I think hes talented and Im really curious to see what he came up with.
by Daniel Robert Epstein
SG Username: AndersWolleck
VIEW 22 of 22 COMMENTS
lemonkid:
I still think Forbidden Zone is his best movie music.
dougrun:
gotta love DE! As a boingo fan growing up, its amazing how he developed and chose the path he did.