I like creating these rhythmic patterns. These interlocking rhythmic things are really fun. Danny Elfman Read Quote
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. Danny Elfman Read Quote
It sounds really stupid, I hate making cosmic comments like this but, I just let it do what it wants to do. Danny Elfman Read Quote
I can’t get that live and I don’t have the time to take the tape, after I’ve finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound. Danny Elfman Read Quote
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. Danny Elfman Read Quote
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. Danny Elfman Read Quote
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. Danny Elfman Read Quote
I’ll just start laying out the melody exactly where I want it to fall. And then I’ll go back and fill it out. Whereas, in other pieces I’m really just going a couple bars at a time. Danny Elfman Read Quote
Oh see, first off you gotta realize – everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction. Danny Elfman Read Quote
