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Danny Elfman

"I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging."

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"I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging."

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Danny Elfman
"Doing Tim's film is always going to be the most pleasure. Let me just put it that way. So, without drawing favorites one way or the other, getting back with him and doing Mars Attacks! was certainly a special treat."
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Danny Elfman
"I like creating these rhythmic patterns. These interlocking rhythmic things are really fun."
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"I'll look back and I'd be better to answer that in about three months from now. Or when the movie comes out and I see it. I don't even know what it is yet. I've still been in the middle of it."
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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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Danny Elfman
"Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns."
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Danny Elfman
"The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action."
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Danny Elfman
"I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference."
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Danny Elfman
"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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"Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room."
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"It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am."
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