# Danny Elfman question



## Synthpopbean (Sep 4, 2019)

I had posted this earlier, but I cant find it now?

Anyways, does anyone know firsthand or whatever to what Danny's protocol to scoring melodies, etc is these days? And what was the deal with that? Ho<ping this rumor was squashed?

And were the rumours of past true about him not writing his own Melodies/scores? Hes been open about using orchestrators, tho. Not sure what's so controversial about that amidst all the old rumors. 



Also..heres the Bartek interview where he explains Danny's process..which doesnt seem to say he used ghostwriters..only orchestrators. http://www.boingo.org/articles/FSMBartek.html


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## Kent (Sep 4, 2019)

Danny's the real deal.


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## Emmanuel Rousseau (Sep 4, 2019)

These rumors came from some of the old farts in Hollywood who thought his Batman score was too good to be written by someone who wasn't classically trained.


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## d.healey (Sep 4, 2019)

Almost all film composers work with orchestrators.

This is old news but I think is relevant to this thread - http://bluntinstrument.org.uk/elfman/archive/KeyboardMag90.htm


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## zolhof (Sep 4, 2019)

Listen for yourself:



I remember found this post from another fellow VIC member who has worked for Danny:



AlexRuger said:


> I worked for Danny for two years and can confirm that that man is a genius and writes his ass off. The myths about him are so annoying...he's a great orchestrator, yes he can read music, etc. He has help, but so does everyone, and having help has nothing to do with ability or work ethic, usually.



So yeah... screw the naysayers.


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## AlexRuger (Sep 4, 2019)

Hey that's me!

So many great memories in that room. Danny is just wonderful in every way. A total one-of-a-kind, brilliant, has tons of quirks and hilariously niche interests/hobbies, has endless stories, never stops evolving. If you think he's just his "Burton sound," check out The Circle, Rabbit & Rogue, etc. 

He's never stopped searching -- I can't respect the man enough. A true artist.


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## AlexanderSchiborr (Sep 4, 2019)

whitewasteland said:


> These rumors came from some of the old farts in Hollywood who thought his Batman score was too good to be written by someone who wasn't classically trained.



That old farts are in particular who? Just interested


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## Emmanuel Rousseau (Sep 4, 2019)

AlexanderSchiborr said:


> That old farts are in particular who? Just interested



I reopened my book "Danny Elfman's Batman - A Film Score Guide" by Janet K. Halfyard to find exactly where it started 

I can't scan the book for obvious reasons, but fortunately this part is available as a free preview on Amazon. Just scroll to Page 11, there is a chapter called "The controversy".

It says it all started with a series of letters published in Keyboard Magazine in 1989.

Another part of the book raises a very interesting point, where it is said that Elfman spoke so openly in his interviews about his close collaboration with Bartek and Shirley Walker than he may have created a part of the legend himself, as it was going against the myth of the super-composer doing all by himself.


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## d.healey (Sep 4, 2019)

AlexanderSchiborr said:


> That old farts are in particular who? Just interested





whitewasteland said:


> It says it all started with a series of letters published in Keyboard Magazine in 1989.



Did no-one click the link I posted to Danny's open letter in keyboard magazine?


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## AlexanderSchiborr (Sep 4, 2019)

whitewasteland said:


> I reopened my book "Danny Elfman's Batman - A Film Score Guide" by Janet K. Halfyard to find exactly where it started
> 
> I can't scan the book for obvious reasons, but fortunately this part is available as a free preview on Amazon. Just scroll to Page 11, there is a chapter called "The controversy".
> 
> ...


Thank you mate,will check that out


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## Emmanuel Rousseau (Sep 4, 2019)

d.healey said:


> Did no-one click the link I posted to Danny's open letter in keyboard magazine?



Ahah, sorry man ! I read some extracts of those letters in the Batman book, but thank you for sending the link !


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## Synthpopbean (Sep 4, 2019)

whitewasteland said:


> These rumors came from some of the old farts in Hollywood who thought his Batman score was too good to be written by someone who wasn't classically trained.



Ah! Makes sense. Thought was either that (jealous industry jerks) or from that idiotic Keyboard magazine guy that blasted him. 
People are nasty. .


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## stonzthro (Sep 4, 2019)

Didn't you just ask this over on Gearslutz? https://www.gearslutz.com/board/mus...s-composing-nd-has-anyone-worked-met-him.html

They seemed to give a fairly conclusive answer there - what are you hoping to find?


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## Synthpopbean (Sep 4, 2019)

whitewasteland said:


> I reopened my book "Danny Elfman's Batman - A Film Score Guide" by Janet K. Halfyard to find exactly where it started
> 
> I can't scan the book for obvious reasons, but fortunately this part is available as a free preview on Amazon. Just scroll to Page 11, there is a chapter called "The controversy".
> 
> ...



I dont understand how people could take it as him not writing his actual compositions, though. Hes very known to have been alongside Bartek since the Oingo Boingo days...and not sure why the orchestration part is such a big drama if say said composer didnt also orchestrate. 
Im totally an idiot to anything regarding the whole way the music/film industry works in this regard but I always thought what danny did was commonplace anyway??? 
Hows that mean hes not a true musician or composer? Hell...through history, many legendary musicians/symphonies had no training and played by ear! 
If anything, real world experience is the best education. Danny sure had a lot of that prior. 
Unfortunately maybe its cos Boingo was rather kinda obscure as in they were more just a cali based band? And maybe most werent fully aware of the extent of his experience? Yet they were very aware of bartek.. kinda confusing.


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## Synthpopbean (Sep 4, 2019)

stonzthro said:


> Didn't you just ask this over on Gearslutz? https://www.gearslutz.com/board/mus...s-composing-nd-has-anyone-worked-met-him.html
> 
> They seemed to give a fairly conclusive answer there - what are you hoping to find?



Yesterday morning. Seemed to be a bunch of hearsay or "I heard through a friend who has a friend" and I had received a bunch of private messages over there saying danny and zimmer once used a load of ghostwriter composers...and one claiming still did yet the person later said they didnt have firsthand knowledge...only what they heard thru college teachers. Lol. To which contradicted what was being said over there. Plus over here you guys actually work in the actual industry and more knowledgeable so...should have just asked over here instead. So...wasnt really sure what the heck.


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## Synthpopbean (Sep 4, 2019)

Biggest question was why the heck were they claiming he didnt even write/compose his actual music itself (aside from the orchestrating) and that it was really someone else/bartek or whoever else? He openly admits using orchestrators. No secret. So not sure what the issue was. This question was stemmed from an interview he did for Movie Collector after the keyboard mag fiasco ...regarding this actual thing and where he says that rumor was going around, too. So was trying to figure out what that was all about as I'd been out of the loop to all this stuff and after receiving weird private messages from what sounded like more jealous industry people. 

Heres the article:


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## stonzthro (Sep 4, 2019)

Synthpopbean said:


> Plus over here you guys actually work in the actual industry and more knowledgeable so...should have just asked over here instead. So...wasnt really sure what the heck.



You MUST be joking. 
drBill and Etch-A-Sketch have probably done more work in the film industry than 95% (or more) of VI-C'ers. 

But really - what are you looking for?


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## Synthpopbean (Sep 4, 2019)

stonzthro said:


> You MUST be joking.
> drBill and Etch-A-Sketch have probably done more work in the film industry than 95% (or more) of VI-C'ers.
> 
> But really - what are you looking for?



I don't know anything about those guys or their backgrounds or who they are...and I'm way too young to even know much about any of this stuff or the history of this stuff. I was only shown your forum from some fans. How would I know their life experiences?? I just like literally joined there. 


Not looking for anything but what I just asked. I explained that. Just what I literally said, so was getting another perspective and I found it super interesting, being a fan and just really started getting into Oingo Boingo a couple years ago and recently found out about all these rumors and things. As a fan with not much prior knowledge it's a bit like woah. But if I was getting private messages contradicting what was said on the other thing then yeah I was like..naturally confused. I explained that.

Plus I get mega focused on random whatever kind of topics, especially music related. Maybe I'm autistic (it's been suggested in the past). I don't know..but always been that way. There actually is no other reason apart from what I explained. I simply got contradicting messages by people I dont know anything about. And I think some might've thought I meant "orchestrators" in terms of the ghostwriting question in those messages. Private messages. 
I have trouble explaining stuff sometimes. 
So that was why I kept referring to and sharing the above article screenshots to explain what I was asking about and nobody seemed to reference to that. On the other board, that is.

All in all, hoping that was he said in the interview I posted attached was true and that the music isnt a lie. Again..I'm a FAN ...who just recently started really getting fully into OB and his other stuff. I dont know shit about the industry or its inner workings or good and dark sides. And I honestly had no idea where all this shit started until now...you guys covered that. 
I find it a very intriguing topic to begin with. But given OB is probably quickly becoming my favorite band, I honestly just like knowing its honest music, too. It might sound obsessive! But its harmless. I'm just weird. Sorry. 
Plus I had seen you all on here had some more cooler discussion on the topic in the past, via search, so ... and a couple musician fan friends said ask here. That really was it.
Plus, I know about the orchestration part. Everyones explained that. My question on there and partly here, though I added question about more discussion on the actual style of writing this time, about the stuff elfman refers to in that article I posted regarding composing..not just the orchestration.


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## Synthpopbean (Sep 4, 2019)

I just edited the above post a bunch of times, sorry.


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## stonzthro (Sep 4, 2019)

Got it - that explains things a little better. 

If you read music, OmniMusicPublishing sells 2 different Batman scores - well worth checking out.


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## Synthpopbean (Sep 4, 2019)

stonzthro said:


> Got it - that explains things a little better.
> 
> If you read music, OmniMusicPublishing sells 2 different Batman scores - well worth checking out.



No worries. It's all good. 

And thank you for the Batman suggestion!


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## zolhof (Sep 4, 2019)

Hey @Synthpopbean , I didn't realize it was your first post, so welcome to the forum! 

No need to apologize, ask away, there are lots of helpful folks here willing to chime in. I know how the process of scoring to picture can be confusing sometimes. It's certainly a team effort and the very reason I love it so much. All the big guys have crazy talented individuals supporting them, credited or not. The difference being that Danny has always been vocal about the role of his collaborators, and that's why he is an absolute class act.

One of my favorite persons (Goldenthal) still to this day meets with his main orchestrator (Bob Elhai) to dissect scores from Mahler, Strauss, Penderecki, etc picking out every possible idea or solving orchestrational puzzles. "For fun" he says... "If you wanna have fun with the dead, that's the way to do it" hehehe

Every working composer dealing with absurd deadlines will need help one way or the other - even from the dead.


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## Synthpopbean (Sep 5, 2019)

zolhof said:


> Hey @Synthpopbean , I didn't realize it was your first post, so welcome to the forum!
> 
> No need to apologize, ask away, there are lots of helpful folks here willing to chime in. I know how the process of scoring to picture can be confusing sometimes. It's certainly a team effort and the very reason I love it so much. All the big guys have crazy talented individuals supporting them, credited or not. The difference being that Danny has always been vocal about the role of his collaborators, and that's why he is an absolute class act.
> 
> ...



Thank you for the welcome! 
And thanks for your patience with my questions.


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## Synthpopbean (Sep 5, 2019)

On topic but sort of a lighter note... have you guys seen Danny's new Instagram page? It's full of funny and really super intriguing posts about his hobbies and he interacts with everybody as well.

He is currently doing a funny instagram show of sorts starring he and his doll Buddy. its really funny. One of the coolest Instagram pages currently. Check it out. Dont think you need to be registered to see things on there.


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## José Herring (Sep 6, 2019)

Synthpopbean said:


> I had posted this earlier, but I cant find it now?
> 
> Anyways, does anyone know firsthand or whatever to what Danny's protocol to scoring melodies, etc is these days? And what was the deal with that? Ho<ping this rumor was squashed?
> 
> ...


I spoke with one of his music editors a long time ago and asked this very same question. His response was that Danny Elfman was one of the first hollywood composers to extensively use sequencers.

I gathered from that Elfman sequences everything in midi then hands it off to orchestrators.

Ground breaking in the '80's but common place now. That's why I think the rumors subsided. When he was getting started though nobody ever heard of that being done. You either did pen and paper or you did synth music. So his midi approach wouldn't have been understood very well in 1986 or so. Funny thing is that a few years later and Hans Zimmer took midi and samples to a whole new level.


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## Synthpopbean (Sep 6, 2019)

josejherring said:


> I spoke with one of his music editors a long time ago and asked this very same question. His response was that Danny Elfman was one of the first hollywood composers to extensively use sequencers.
> 
> I gathered from that Elfman sequences everything in midi then hands it off to orchestrators.
> 
> Ground breaking in the '80's but common place now. That's why I think the rumors subsided. When he was getting started though nobody ever heard of that being done. You either did pen and paper or you did synth music. So his midi approach wouldn't have been understood very well in 1986 or so. Funny thing is that a few years latter and Hans Zimmer took midi and samples it to a whole new level.



From some interviews that talk about their sequencers and sequences. Ha. 
Pretty much what you said, I guess. All this shit goes over my head a bit. But really effing cool. Not sure the exact years of the DE one but Bartek one was 1995. 


" Q: How do you compose? What equipment do you use?

DE: I use a lot of samplers. In my studio I have one keyboard and a lot of gear. A lot of it is in another room because it's noisy. I compose at the keyboard and I have a work table with a big keyboard and screen with a sequencer. I'll create these huge templates and use a program called "Performer", but then I send it out to a guy who puts it into Sibelius for generating the parts. It just looks like notes with no dynamics or anything before it is put into Sibelius.

Q: How did you learn to compose?

DE: I just taught myself over the years. For Peewee, I just banged things out on the piano. I knew how to write music but not read it - or at least I can only read it as fast as I can write it, which is not very fast. My musical training came from seven years of being in [the rock band] Mystical Knights of Oingo Boingo. Everyone had to play three instruments. I played trombone and guitar and everyone played percussion. We had this crazy ensemble with a homemade percussion ensemble. We built our own gamelan in the style of Lou Harrison. We were interested in jazz and I started transcribing Cab Calloway, Duke Ellington and others. There was no way to create the arrangements other than to write it all out, so I kind of learned by rote. As time went on, the band shifted towards musicians who could read. I got to the point where I could write but I couldn't read. I could only read as quickly as I could write. It's like someone who can write the letters of the alphabet but can't read the words. I learned to write as I learned to read. But I did learn that I had a really good ear and I could freeze anything I heard and write it down."

And from Bartek:

"Lukas Kendall: How do you work with Danny?

Steve Bartek: When Danny works with a director, he sits down and he mocks up all his themes on his computer. His synthesizers and samplers play back the major themes for the director, and they spend weeks sorting through that stuff. When it comes down to starting my involvement, he takes those sequences, of which some are fully fleshed-out orchestrations on the computer and some are merely sketches, and sits down scene by scene and writes it onto paper. He actually takes a pencil writes notes and translates what's in the computer down to notation and in doing that he finishes writing most of the stuff, by adding things here and there that aren't in the computer, making sure he hits things on screen, adding dynamics and color. Then he hands them to me. What I get is usually a fairly fleshed-out sketch not all the time, but most of the time. Sometimes it's too complete; there were some times on Batman he got so many things going that they didn't work together, and I had to sort through them to make sure that what we had would actually work. But he actually does physically write stuff down on paper! [laughs]

LK: When he mocks it up on computer, is that just from playing it in? He didn't mention that part of the process.

SB: He didn't? Oh. Well, yeah. On the first movie, Pee-Wee, he couldn't. He had one little synthesizer and a keyboard and there wasn't a lot of sequencers that could handle that kind of stuff. Getting it to lock to picture was even difficult at that time, there was only one little box that you could get a click to lock to the video. But by the second or third film, technology picked up, and Danny's grasp of it all picked up, too. The beginning of Pee-Wee, he was playing to screen on the piano. By the end of Pee-Wee, he was locking things to click and handing them to me.

LK: But was he notating?

SB: Yeah.

LK: How on Pee-Wee did you set up a system whereby he would write it down, since he hadn't done that at that time?

SB: It all metamorphosed through the film. Bob Badami, the best music editor in town, led us through all the steps and Danny realized what he had to do to get his point across. He quickly realized that handing me a tape was not going to get him what he wants. The more he started writing things down on paper, the more he could communicate. Before that time, he had a perfectly working knowledge of muiic notation because when I joined the band, he had written a piano concerto, fully handwritten for piano and a small ensemble. He considers notation a problem for him, because the fine points of dynamic markings, where they go exactly - he's not good at bass clef, but he does everything in treble clef with an octave marking so you know exactly where he wants it to sound. If he's writing a low line he marks it how many octaves down and is very clear about it. His notation is not strictly normal, but for anybody who knows anything about notation you can look at it and figure out what he's saying. It's not personal, he didn't make it up. It's all real notation, but he uses it in a slightly different way, because of his own limitations. At the beginmng of Pee-Wee it wasn't like he didn't know anything about notation, he perfectly well knew things about notation, he was just scared and reluctant, like we all were, it was the first one. By the end he was writing it on paper and it was all locking to click. In between there, there was some oddball stuff, but that was his first film."


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## Synthpopbean (Sep 7, 2019)

To the mod that just sent me a message but I have no way of responding?? 
You told me to not post any new threads.....until I got grasp of it. This is my current ongoing thread...and not a new thread. So...I was following directions. Ok. I'm done......wow. 
No need to be harsh and deleting what I was just speaking my mind. Civilly.


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## Synthpopbean (Sep 7, 2019)

And your system offers no way of responding to your moderator notifications nor any way to see who it was who even responded!


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## Mike Greene (Sep 7, 2019)

You asked the same _"Is Danny Elfman a Scientologist?"_ four times, and even started two (count them, TWO) new threads in two separate sub-forums to ask the same question. (A simple Google search will tell you that he is not.) I responded four times (FOUR TIMES!) to tell you that this is not an appropriate question on this forum, because it will undoubtedly cause unnecessary drama, since Scientology is obviously a controversial topic.

You may disagree with me on that, but you are not the owner of this forum. I am.

I also advised you that you might want to get the feel of the forum before jumping in head first with controversial topics, and before you know basic forum guidelines about double posting topics. For instance, if you don't even know who to contact with questions, and if you can't name a single moderator, then you should _especially_ take a step back and get a feel for how this forum works before picking a fight with the forum owner.


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## Synthpopbean (Sep 7, 2019)

Mike Greene said:


> You asked the same _"Is Danny Elfman a Scientologist?"_ four times, and even started two (count them, TWO) new threads in two separate sub-forums to ask the same question. (A simple Google search will tell you that he is not.) I responded four times (FOUR TIMES!) to tell you that this is not an appropriate question on this forum, because it will undoubtedly cause unnecessary drama, since Scientology is obviously a controversial topic.
> 
> You may disagree with me on that, but you are not the owner of this forum. I am.
> 
> I also advised you that you might want to get the feel of the forum before jumping in head first with controversial topics, and before you know basic forum guidelines about double posting topics. For instance, if you don't even know who to contact with questions, and if you can't name a single moderator, then you should _especially_ take a step back and get a feel for how this forum works before picking a fight with the forum owner.



Fair enough.

I did not know which forum to post in, so posted in more than 1, and once it didn't show up at first, so I reposted it. 

Also In regards to the question at hand, the google searches that he is not is just based on fact hes said hes atheist and what people assume means not sci either. But apparently most dont see it as a religion and there are many athiest scientologists. That was my point. His brother and nephew are. 

With cross posting I also assume that if i post in another area then other important readers might not visit that particular one that might have more input or info , so I never know the actual best one. Plus some forums that I used to be a part of allowed that to some degree. Especially ones that had entire sections closed off to just subscription users.
Never meant it as rude, though.

I am new here and yes, my initial reason for posting here was to specifically ask one topic, the original here: Danny's orchestration composing thing . And then thought I'd ask more given I'm a fan and you guys are pretty close to the industry so you get actual info not just some fan stuff from fans.


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## David Kudell (Nov 10, 2019)

AlexRuger said:


> Hey that's me!
> 
> So many great memories in that room. Danny is just wonderful in every way. A total one-of-a-kind, brilliant, has tons of quirks and hilariously niche interests/hobbies, has endless stories, never stops evolving. If you think he's just his "Burton sound," check out The Circle, Rabbit & Rogue, etc.
> 
> He's never stopped searching -- I can't respect the man enough. A true artist.


What I would give to have the opportunity to just meet Danny, let alone get to work for him. I just finished his Masterclass, and it has really made me rethink everything - why haven't I really pursed what I really love? I'm 42, if I wouldn't have stopped writing after I graduated from film school 20 years ago, who knows where I'd be. Rather than beating myself up about not being classically trained, I should have just kept writing melodies. 

I just came away from his Masterclass feeling like it would be the coolest thing ever to just hang out and listen to Danny talk. I assume that working with him was a true inspiration!


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## Living Fossil (Nov 10, 2019)

d.healey said:


> This is old news but I think is relevant to this thread - http://bluntinstrument.org.uk/elfman/archive/KeyboardMag90.htm



Thanks for posting this!

p.s. Damn, only 6 weeks [!!!] for scoring Batman is a pretty short time....


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## jononotbono (Nov 10, 2019)

d.healey said:


> Almost all film composers work with orchestrators.
> 
> This is old news but I think is relevant to this thread - http://bluntinstrument.org.uk/elfman/archive/KeyboardMag90.htm



Loved reading that. Thanks.


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## AlexRuger (Nov 10, 2019)

David Kudell said:


> What I would give to have the opportunity to just meet Danny, let alone get to work for him. I just finished his Masterclass, and it has really made me rethink everything - why haven't I really pursed what I really love? I'm 42, if I wouldn't have stopped writing after I graduated from film school 20 years ago, who knows where I'd be. Rather than beating myself up about not being classically trained, I should have just kept writing melodies.
> 
> I just came away from his Masterclass feeling like it would be the coolest thing ever to just hang out and listen to Danny talk. I assume that working with him was a true inspiration!



Working _for _him, not _with _him  I was very much his employee, not his equal or collaborator. Nitpicks of course but it's worth clarifying.

He's a cool guy. My favorite memory is just the two of us hanging out, listening and checking out a conductor's score to Wojciech Kilar's _Krzesany _I happen to own, marveling at all the strange notation and techniques, with the big giant poster of Stravinsky staring down at us.

Don't get too down, though. The past few years were pretty dark for me, wondering why the hell I had ever been stupid enough to choose such a difficult and financially unwise career. I've more or less come back from that, but seeing what guys like Danny go through...trust me, if you value having family time, or relaxing time, or time in general, or aren't one of the very few who go on to have a career like Danny and instead toil in the broad underpaid depths of this industry, or are one of the handful who _very nearly _had a career like that but can clearly see the one or two choices or mistakes that drove you so far away and have to live with that (even Danny had some stories along those lines), or are one of the very many more who didn't quite fight the right fight in a rather brutal industry that is all about requiring you to fight and to fight well, etc etc etc...you may have made the right choice.

The grass is always greener for sure!

But yes, I'm quite thankful to have had that experience and gotten to know one of my heroes (two, actually -- Steve Bartek was the other). Sometimes it was crazy, but it was amazing all the same.


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## jononotbono (Nov 10, 2019)

AlexRuger said:


> if you value having family time, or relaxing time, or time in general



😂 My life now. Going to Walmart is basically a Vacation.


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## Mornats (Nov 11, 2019)

I'm a hobbyist here so don't work in the industry. So like most people I know of Danny Elfman from Batman, The Simpsons and Tim Burton's movies (I adore the music from The Nightmare Before Christmas). Last year I watched The Girl on the Train and loved the soundtrack. I thought I'd try and guess who may have written the score and got it totally wrong. It was Danny Elfman, writing in a style that I'd not heard from him before. I bought that soundtrack album and use it as a reference a lot. So I totally agree with Alex's comment about him not being his "Burton sound". I'll check out The Circle and Rabbit & rogue...


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## David Kudell (Nov 11, 2019)

AlexRuger said:


> Working _for _him, not _with _him  I was very much his employee, not his equal or collaborator. Nitpicks of course but it's worth clarifying.
> 
> He's a cool guy. My favorite memory is just the two of us hanging out, listening and checking out a conductor's score to Wojciech Kilar's _Krzesany _I happen to own, marveling at all the strange notation and techniques, with the big giant poster of Stravinsky staring down at us. I also remember a rather biz
> 
> ...



Thanks Alex, always interesting to see what it's like in the inner workings of a composer's studio, and great to hear it first hand. I listened to your stuff on your website and it's really good. I know what you mean about something becoming a job when you need to pay the bills. 

I worked as an assistant sound editor on some great movies, and got to work for some of the best sound designers in the industry. But I quickly realized that there are a very small pool of those jobs available, and those folks don't retire very often. So rather than spend years trying to work my way up, toiling away doing sometimes menial tasks, I moved into commercial video production and that has allowed me to be creative and be artistic in another way. It's served me well as a career. I do miss days like when I met JJ Abrams on the dub stage for Mission Impossible 3, but I actually love the creative process of making videos now much more than when I was a small cog in a giant machine, synching dialog reels in ProTools.

As for music composing, I know it's hard out there, especially trying to make a living off of it. As for me, I don't want to get rich off of it, I mostly just want to compose something that people will hear, but it seems hard to find opportunities just to find stuff to work on.


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