Every week at SiftPop.com, we challenge our writers to come up with their favorite answer to a movie-related prompt tied to a recent release. This week, with the release of Beetlejuice Beetlejuice, we’re discussing some of our favorite Danny Elfman scores! Let us know your favorites @SiftPop!
In the vast pantheon of superhero cinema, there exists only two accompanying scores so synonymous with their respective champion that it’s the first thing you hear when you picture them in any medium: the John Williams Superman theme, and on the other side of the proverbial coin, the Danny Elfman Batman score. Accompanying the release of Batman in 1989, the success of Elfman’s score can be linked to his shared aesthetic vision with director, Tim Burton, building on their previous collaborations of Pee-wee’s Big Adventure and Beetlejuice, and setting the stage for future ones. For Batman, Elfman’s score stands as one of the most indelibly iconic in film history, perfectly capturing the gothic atmosphere of Gotham City and the duality of its titular dark knight. The brooding orchestration fosters an emotional connection with audiences, creating an atmosphere of tension that reflects the movie’s noir aesthetic and the psychologically fractured mind of a grown man who dresses as a bat to instill fear in the hearts and minds of criminals. With its bold brass fanfare and driving rhythm, the score was so transcendent that it served as the basis for the theme music of the equally iconic Batman: The Animated Series, which premiered on television three years later. While the Williams Superman theme may have aided in the belief that a man could fly, Danny Elfman’s Batman score redefined the musical landscape of theatrical superheroes and showcased the artistic potential of music across the broader field of film. (Jonathan Fedee)
It’s hard to decide on one best score when looking at a catalog as impressive as Danny Elfman’s. But, the beautifully mystical Edward Scissorhands score tops the list. When a movie’s titular character speaks less than 170 lines, it’s important for audiences to relate to them through means other than dialogue. Elfman masterfully does this with his music. Each song portrays Edward’s emotions and interactions with his surroundings. Upbeat and busy strings set the scene of Edward getting acquainted with his new cookie cutter neighborhood in “Beautiful New World/Home Sweet Home.” Chimes, a celeste, and a choir are utilized to set the whimsical fantasy mood at the start of the movie in “Introduction.” In “Ice Dance,” the magical keys of the celeste combined with romantic violins and tied in a bow with a choir tell the iconic love story of Edward and Kim. A sadder, slower variation of “Ice Dance”’s melody portrays Edward’s feelings of forlornness and abandonment in “Death!” It’s hard not to get lost in fantasy and feelings when listening to the Edward Scissorhands score — and that’s not a bad thing. Its childlike wonder makes it an amazing escape from the busy and often sad world we live in. (Diana Gebbia)
Though he obviously doesn’t get credit for coming up with the original theme, that goes to Lalo Schifrin, one of the fun aspects of the modern Mission: Impossible movies is that they’ve given a who’s who of modern film composers a chance to play around in the franchise’s sandbox. Each film in the franchise manages to balance the familiarity of the iconic theme, while also putting their own little spin on it. Danny Elfman got first crack at it with the reboot, before later being joined by the likes of Hans Zimmer and Michael Giacchino. Elfman’s score doesn’t change much, but modernizes an iconic classic and sets the tone for the rest of the series. While Tom Cruise and the stunt work get a lot of the attention, the score is key to the audience getting sucked along on the faced-paced action ride. (Jake Bourgeois)
The Nightmare Before Christmas is one of the most beloved animated films of the last 30 years, and the element that hits the deepest is the influential and impactful soundtrack. The lyrics and performances certainly work incredibly well, but the music underneath is what creates the basis for all the atmosphere in the film. Henry Selick’s film has such a large challenge… it needs to sell both the Halloween and Christmas atmospheres, and bring them both together. Danny Elfman is so impressive with how he can use the deeper and foreboding flair of jazz and big band music for the eerie and darker tones of Halloween. For Christmas, it is big, rousing, and jaunting along in a vibrant and joyous way. There is no mistaking the music from The Nightmare Before Christmas with any other film. Elfman has his distinct sensibilities at play while, drawing upon those holiday themes of music as well. For the 75-minute runtime, you will never have Elfman’s score gone too long, as it is truly the spine, heart, and soul of this wonderfully gothic holiday adventure. (Shane Conto)
With over 130 film and television composition credits under his belt, it’s hard to remember a time Danny Elfman wasn’t making movie music magic. But there was a time, and it was 1984 when a relatively unknown former Disney animator approached the Oingo Boingo frontman to compose a soundtrack for his first feature film. 40 years later, the iconic pairing of director Tim Burton’s striking visuals with the distinctive flair of Elfman’s musical scores are still going strong, and it all started with Pee-Wee’s Big Adventure. Elfman was able to skillfully craft a collection of melodies with a quirky common thread following Pee-Wee throughout the ups and downs of his adventure while encapsulating the fun and frolic of the character. Creating a sound completely different from the television show theme song and yet perfectly capturing the spirit of Pee-Wee’s childlike persona. (Patrice Downing)
The Simpsons theme tune is a catchy, jaunty melody that has become synonymous with pop culture. The iconic song has remained largely unchanged since its debut in 1989, yet its influence extends far beyond the confines of the show itself. Danny Elfman wrote The Simpsons theme in just one day, and was paid only $2,000 for doing so. Despite its humble origins, the tune has become one of the most recognizable, if not the most recognizable in television history. Elfman has said that he was inspired by the show’s satirical take on American life, and aimed to create a theme that was humorous and endearing. The genius of Elfman’s work lies in its ability to evoke a sense of nostalgia and timelessness, conjuring memories of spent watching the antics of an entire towns worth of eclectic and rich characters. More than just a sentimental trigger, the tune’s clever use of jazz and blues elements also nods to the rich musical heritage of The Simpsons’ hometown, Springfield. The show has lived on for generations and generations to come, it continues to push boundaries and tackle complex social issues. Yet the constancy and consistency of the theme remains a reassuring presence. The next time you find yourself humming that unmistakable “doo-doo-doo-doo” refrain, remember: it’s more than just a TV theme — it’s a cultural touchstone, and a testament to the power of music to transcend time and the medium of television. (Adam Ritchie)
Spy Kids is a collaborative effort for Danny Elfman, as he is one of five credited composers, alongside director Robert Rodriguez, Heitor Pereira, John Debney, and Harry Gregson-Williams. However, Elfman does also get credited for the songs on the soundtrack. The film is extremely nostalgic for me and, much like with the earlier work he did on the Mission: Impossible score, this soundtrack provides the necessary spy atmosphere and energy that fits what the movie is going for perfectly and it’s consistently strong throughout — impressive, given how many people contributed to its creation. A recent rewatch had me immediately feeling like a kid again right when the score kicked in for the first time. As one I watched a ton growing up, this Elfman score will always hold a special place for me. (Jake Bourgeois)