With some Danny Elfman scores, you may have at least an inkling ahead of time as to what you’ll be getting, given his long history of work with Tim Burton’s whimsically macabre films or the Marvel …
With some Danny Elfman scores, you may have at least an inkling ahead of time as to what you’ll be getting, given his long history of work with Tim Burton’s whimsically macabre films or the Marvel superhero franchise. With Noah Baumbach’s “White Noise,” though, his palette was completely blank — as the composer and director discussed in a keynote discussion for Variety’s Music for Screens virtual conference.
He no longer benefits so much from a lack of expectations — but relishes the assignments where there still are none. “When I have a movie like ‘Silver Linings Playbook’ or ‘To Die For’ or ‘Milk’ or, now, ‘White Noise,’ it’s such a pleasure to be in a place where there’s no film to say: ‘LikeNot that he minds his Marvel, mind you. “If I get a film like ‘Dr.
Says Baumbach, “In one of our first calls, we talked about the various parts of the movie. and how the first part is about the routines and strategies and things we invent for ourselves in life to sort of give ourselves the illusion that it’s gonna last forever. The middle part of the movie is essentially having this cloud of darkness come into our life, essentially bringing death to our doorstep.
“Some of my earlier movies, there’s very little score, or would need to play sort of somewhat counter to the scene… I don’t use underscore very much at all. But this movie was different — because it didn’t come from me,” says the filmmaker. “It was different source material and does have all these different aspects to it. So I actually was excited by the fact that we could play score under scenes and the score emphasize moments that were happening… in a kind of more traditional movie way.
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