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 Posted:   Nov 27, 2013 - 2:42 PM   
 By:   johnmullin   (Member)

I just got a For Your Consideration screening invitation for AMERICAN HUSTLE... it lists Danny Elfman as the composer. I actually didn't know he was scoring it... it wasn't listed on IMDB for a long time (although it is now), and I think I read about another composer being attached to it some time back.

In any case, I'm excited for the movie, and always look forward to new Elfman music. The OST only has one cue on it, but perhaps there will be some kind of score-only release (even if it's only digital, like SILVER LININGS was last year):

http://www.amazon.com/gp/product/B00GXU5EWA/ref=dm_ws_tlw_trk15_B00GXU5EWA

 
 
 Posted:   Nov 27, 2013 - 2:49 PM   
 By:   Thor   (Member)

Yeah, I hope there will be a score-only release. From the sample of the single score track, it sounds like the type of Elfman I enjoy these days.

 
 Posted:   Dec 15, 2013 - 11:40 PM   
 By:   Ag^Janus   (Member)

Danny Elfman seems to be an odd choice for this kind of film?

Looks like he did a good job, by the comments around the place.

 
 
 Posted:   Dec 16, 2013 - 12:11 AM   
 By:   The CinemaScope Cat   (Member)

There really isn't that much of Danny Elfman's score as I recall. The "score" is predominantly 70s songs by Donna Summer, Steely Dan, Chicago etc. and some jazz by Duke Ellington and Oscar Peterson.

Terrific flick though.

 
 
 Posted:   Dec 16, 2013 - 1:27 AM   
 By:   Vermithrax Pejorative   (Member)

I think I read that the director isn't a big fan of music scores!
Elfman had to really push him to use his music for SILVER LININGS PLAYBOOK.
With this being a period drama, he probably thinks the songs will do the job, much like Scorsese does in his gangster films.

 
 Posted:   Dec 16, 2013 - 7:18 AM   
 By:   johnmullin   (Member)

SILVER LININGS actually has a good deal of score in it (and it's a good score!).

Russell revealed in an LA Times article last year that he had to pressure Jon Brion into writing a score for THE FIGHTER. Brion thought that the movie didn't need a lot of music, but nevertheless, he collaborated with Russell on it for a period of time, only for Russell to realize that what Brion had said initially was correct. Ultimately, Brion's score didn't stay in the movie and Michael Brook came in to do a very atmospheric rescore.

Elfman said that Russell really put him through the wringer on SILVER LININGS last year, but ultimately it was important for the process, and both wound up with a score for the movie that they really liked. And apparently, the experience wasn't so tough that neither wanted to do it again...

 
 
 Posted:   Dec 16, 2013 - 7:34 AM   
 By:   Thor   (Member)

Looks like a similar situation as NOTORIOUS, which also only had one Elfman cue on the soundtrack. I'll have to see the film first to know how much original score there is, but I doubt it's enough to fill out a CD.

 
 
 Posted:   Dec 16, 2013 - 7:51 AM   
 By:   Bond1965   (Member)

The film doesn't have a lot of notable underscore.

That said, I was shocked to see and "Additional Music" credit for Chris Bacon and David Buckley in the end credits.

I can assure you, there will be no Score Only release for this as the well chosen songs make up a majority of the film's underscore.

James

 
 
 Posted:   Dec 16, 2013 - 6:59 PM   
 By:   lonzoe1   (Member)

That is odd for a movie with supposedly little score. Either Russell wanted more score and Elfman needed some assistance on completing it, but then Russell ended up dropping the extra cues anyway. Or the additional music was to re-score scenes that Elfman wasn't available for. I don't know the reason, but that's very unusual.

 
 Posted:   Dec 16, 2013 - 7:08 PM   
 By:   Justin Boggan   (Member)

David O. Russell doesn't exactly have a sparkling past in composers, having rejected scores, replaced composers, and tracked score from other films, in at least now five films. Elfman is lucky he even made it to a second film with the guy -- he's only the second composer to accomplish this*.




* = on a technicallity, if we count a rejected score.

 
 Posted:   Dec 16, 2013 - 10:34 PM   
 By:   Sirusjr   (Member)

SILVER LININGS actually has a good deal of score in it (and it's a good score!).


Only if you like the trend of boring guitar-centric drama scores. It wasn't memorable at all, though it fit the film. I'm not surprised that there isn't much score in American Hustle.

 
 Posted:   Dec 16, 2013 - 11:14 PM   
 By:   SchiffyM   (Member)

SILVER LININGS actually has a good deal of score in it (and it's a good score!).


Only if you like the trend of boring guitar-centric drama scores. It wasn't memorable at all, though it fit the film.


Well, to each his own. I don't find it boring or unmemorable at all -- in fact, it's one of the few scores from last year that I still listen to with some regularity.

I also wouldn't call it "guitar-centric," as the vocals and the piano melody are much more front and center in the score to me (though of course, there are guitars as well).

 
 
 Posted:   Dec 17, 2013 - 12:27 AM   
 By:   CindyLover   (Member)

SILVER LININGS actually has a good deal of score in it (and it's a good score!).


Only if you like the trend of boring guitar-centric drama scores.


Taking Woodstock wasn't boring, and neither was this.

 
 
 Posted:   Dec 17, 2013 - 1:41 AM   
 By:   Vermithrax Pejorative   (Member)

Indeed. The Bacon and Buckley music may well be tracked in temp music from previous works by them.

 
 
 Posted:   Dec 17, 2013 - 9:28 AM   
 By:   jamesluckard   (Member)

Indeed. The Bacon and Buckley music may well be tracked in temp music from previous works by them.

I don't think so. If that were the case, their individual cues would be credited among the songs. But that's not how they're credited, they're listed as "Additional Music by" in the music section.

 
 Posted:   Dec 26, 2013 - 7:22 PM   
 By:   johnmullin   (Member)

I just saw this movie (which is great!) and agree that there's very little music that is identifiable as score in there. I caught maybe 4 cues at most. The credits are curious… I wonder if there's more music in the movie than I noticed? Or if Elfman did a lot of work that didn't make it into the finished film or what.

In any case, I enjoyed the hell out of the movie, and the music that plays under it (licensed or otherwise) is perfect.

 
 Posted:   Dec 26, 2013 - 7:57 PM   
 By:   Khan   (Member)

I just saw this movie (which is great!) and agree that there's very little music that is identifiable as score in there. I caught maybe 4 cues at most. The credits are curious… I wonder if there's more music in the movie than I noticed? Or if Elfman did a lot of work that didn't make it into the finished film or what.

In any case, I enjoyed the hell out of the movie, and the music that plays under it (licensed or otherwise) is perfect.


I have to agree with you. When the movie ended and I saw Elfman's name on the credits, I had totally forgotten that he was the composer for the movie. The songs sucked me in that much.

Excellent movie all around, too.

 
 Posted:   Dec 27, 2013 - 7:55 AM   
 By:   johnmullin   (Member)

I just got the CD… David Buckley and Chris Bacon are listed as having written additional music in the credits for the one Elfman track that's on the album as well.

To me, this suggests that they were working with him, as opposed to a situation where they were brought in later to rescore something (or that the film licensed score that either composer wrote earlier, as was speculated in a post above).

The few pieces that I recognized as score in the movie seemed designed to blend in with all the pre-existing music (or perhaps to be mistaken for it). Maybe this was a scenario like THE BIG LEBOWSKI where Carter Burwell only composed a few "invisible" pieces for the movie, but got a "Music By" credit anyway?

 
 
 Posted:   Dec 30, 2013 - 6:04 PM   
 By:   OnyaBirri   (Member)

Just saw this (great) film. Danny Elfman did a good job lowering the stylus onto the records.

A good assortment of music. Lots of jazz initially, but then a lot of the usual 70s pop tunes I could do without.

The jazz stuff was really nice, though.

 
 
 Posted:   Dec 30, 2013 - 11:43 PM   
 By:   CindyLover   (Member)

I saw it yesterday (great flick by the way), and I think there were only about three or four pieces that count as underscore, like the montage of Irving's early life, another scene with Irving and Sydney and most audibly the scene where Victor Tellegio starts talking Arabic to the Fed pretending to be a sheik.

 
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