Would they do test screenings with an not involved audience and have them fill out feedback sheets and stuff like that already? Or is that not common any more?
Totally case by case. I think most major movies don't test screen anymore because people who attend post all the plot details online immediately afterward.
If they did already, can that have caused needs to re-edit much of the movie which needed new score? Or that just the music was in need of changes?
No idea, but I think SchiffyM's comment above about how the filmmakers' perception of what the film is has probably shifted a bit as VFX have come in, etc, is probably the truth.
This reminds me of the Peter Jackson KING KONG a little... Howard Shore is a great composer and clearly had a good working relationship with the director from the LOTR movies, but they simply reached a point in the process where they felt the music needed to do something different than what it was doing for the movie. It doesn't mean the Shore score was "bad" - they just eventually concluded that it wasn't right for the flick. It's impossible to really _know_ that until you see it.
Or when the producer and/ or director decided to make essential changes to the movie, would there be even enough time after december to do that? Since Tyler recorded then, the movie was probably locked by then more or less, wasn't it?
Sure. There's no such thing as "locked" anymore. Directors, producers and studio types will make changes to the picture until the last possible moment. As long as visual effects work can be done and the audio mix can be completed in time, they'll completely turn everything on its head if they feel they need to. Minor tweaks can still be made pretty much until a few days before the film starts to screen.
Is it more likely that it was the music only they were unhappy with?
No idea. Whedon and company probably liked what Tyler was doing at one point or they wouldn't have let him record it. The fact that they're keeping SOME of it would suggest that they weren't entirely dissatisfied. But for reasons that are unknown to us... they felt they needed someone of Elfman's caliber in to write additional score.
It's all very curious, but as others have said... lots of money riding on these mega event movies, meaning a lot of nervous filmmakers and executives, meaning a lot of crazy decisions and situations.
How could they not know what kind of film they are getting? Their all the same! Besides a film like this would require a hundred percent of it be storyboarded before it was even filmed. Again, whats not to get?
Since I usually feel Tyler (among others, Giacchino for example) often are satisfied with there results too early and don't push further, thus lacking elaboration, sophistication and depth, I somehow have the feeling that this circumstances could mean that Elfman's music will do better. Tyler's approach is quite predictable, when they changed their mind during or after the recording sessions of Tyler and looked for a composer not out of the Remote Control et similar soundscapes camp to come up with something else, there is hope that they are clearer of what approach they do not want, and that they maybe quite specifically knew in which direction to go. And Elfman had a brillant theme to use, so he could start to do the cues without losing much time to find theme and to conceptualize from scratch.
I wonder if this has something to do with the temp track. Just speculating, but any ideas which Elfman scores could have been in the temp for this movie?
Anyway, I don't know about the film, but for the music this is good news in my opinion, Tyler's limited inventiveness is not so promising, minor chord here, minor chord there, heavy percussion, at the musical core material simplicity and simplicity (admittedly, it often is worse). But Elfman with a good theme sometimes even now with his massive catalogue comes up with more inspired music.
I know Whedon is a huge fan of Spider-Man and Spider-Man 2, (especially the former) saying that they're the genre high-points so he's probably an Elfman fan. Also Kevin Feige was involved in those two movies, as well as Hulk which Elfman also scored in very little time.
I know Whedon is a huge fan of Spider-Man and Spider-Man 2, (especially the former) saying that they're the genre high-points so he's probably an Elfman fan. Also Kevin Feige was involved in those two movies, as well as Hulk which Elfman also scored in very little time.
but I don't know, the tone of those scores does not fit really into the Avengers tone from the first or what we saw in the trailers from part 2. But who knows.
Just speculating, but any ideas which Elfman scores could have been in the temp for this movie?
If there's a particularly triumphant scene in the movie, they could have temped it with "Finale" from "Batman" or "Farewell" from "Spider-Man. I could see them using something like "We Will End You!" from "Dark Shadows" to temp a particularly menacing scene featuring a bunch of Ultron drones. They also could have used something from "Mission: Impossible" or "Hulk".
This thread is too long to check now, but am I alone in thinking. ..why didn't they carry on with Silvestri? I think he nailed the first film & when his theme (finally!) gets out in Act IV, it still gives me goosebumps.
You are not alone, Goblin. I agree. I saw no reason to not continue with Silvestri.
Thanks Joan, I knew you were rad ;-) And really after the love letter Wheedon wrote about Silvestri in the Intrada Cd... wow....it's very complimentary.
A bit of score doctoring bodes neither ill nor otherwise to me. This film will NOT bomb and no one - outside of us - will notice anything untoward as it marches onto 80 billion! And for all those films that had fiddly post-productions...there's always Titanic!
Is it not likely they're releasing the album Tyler put together right after he recorded? I mean Elfman didn't put any of Young's tracks into the Spider-Man 2 release and his Wolfman release was one he put together right after recording, and a chunk of that was then thrown away for the movie.
Having a ton of Elfman on the album would really just highlight how his contribution is apparently a lot more than 'additional music.'
Why Adam? Is he more than a FSM - reader in that matter?
The scope of this is larger than the Spider-Man 2 re-writes. Elfman was off to score for Burton and Bartek wrote a very short amount of newly adapted cues, Debney re- wrote a few minutes of unimportant scenes and Young re-wrote the train sequence (eliminating all that " jungle" percussion like bongos etc) and I think three scenes with Doc Oc. For the latter Young had to do a clone of his Hellraiser II music.
When it is true that Elfman wrote about one hour of music, than this is far more than in Spider-Man 2, and it is more by just one composer. We'll see if there is a parallel temp-situation to Young's Hellraiser II.
Also Elfman developed a new theme apparantly, according to the interview. There is no theme in Spider-Man 2 written by the re-writers.
So it is also quite different in the amount of music which had to be re-written, but furthermore there is a big difference qualitatively. Not just adaptions, a new theme evolving from Silvestri's Avengers theme was developed by Elfman, that sounds like working in the heart of the matter, not only on the periphery as in Spider-Man 2.
