Danny Elfman
Danny Elfman
================
Full Name and Common Aliases
---------------------------------
Born Daniel Currie Elfman on May 29, 1953, he is commonly known as Danny Elfman.
Birth and Death Dates
-------------------------
May 29, 1953 (living)
Nationality and Profession(s)
-------------------------------
American singer-songwriter, composer, actor, writer, and producer
Early Life and Background
-----------------------------
Danny Elfman grew up in Los Angeles, California. He was raised by a family of artists: his father, Milton Elfman, was an actor, and his mother, Mildred Baadke, was a classically trained pianist. The youngest of two children, Danny's early life was marked by creativity and experimentation. His sibling, Richard Elfman, would later become a filmmaker.
Growing up in Los Angeles, Elfman was heavily influenced by the city's vibrant arts scene. He attended the Musician's Institute of Technology but dropped out to pursue his passion for music. In the late 1960s and early 1970s, Elfman became increasingly interested in avant-garde and experimental sounds.
Major Accomplishments
---------------------------
Elfman's professional career began as a member of the new wave rock band Oingo Boingo. Formed in 1972, the group gained popularity with hits like "Dead Man's Party" (1985) and "Weird Science" (1985). The band disbanded in 1995.
In addition to his work with Oingo Boingo, Elfman has had a highly successful career as a film composer. He made his breakthrough in Hollywood with the 1989 Tim Burton-directed _Batman_ film, which earned him an Academy Award nomination for Best Original Score. This collaboration led to numerous collaborations between Elfman and Burton, including _Edward Scissorhands_ (1990), _Beetlejuice_ (1988), and _Sleepy Hollow_ (1999).
Elfman's notable works also include the scores for _Spider-Man_ (2002), _Hugo_ (2011), _Men in Black 3_ (2012), and _Fantastic Beasts: The Crimes of Grindelwald_ (2018). His iconic themes have become synonymous with many beloved films.
Notable Works or Actions
-----------------------------
Some of Elfman's most notable works include:
_Batman_ (1989) - score
_Edward Scissorhands_ (1990) - score
_Beetlejuice_ (1988) - score
_The Nightmare Before Christmas_ (1993) - original songs and score
* Oingo Boingo's "Dead Man's Party" (1985)
Impact and Legacy
-------------------------
Danny Elfman has left an indelible mark on the music industry. His versatility as a composer, singer-songwriter, and actor has earned him widespread recognition and respect.
With over 30 years of experience in film composition, Elfman has established himself as one of the most prolific and innovative composers working today. His ability to craft memorable themes that capture the essence of a film's tone and atmosphere is unparalleled.
Elfman's collaboration with Tim Burton has been particularly influential in shaping his career. Their partnership has resulted in some of the most iconic films of recent decades, cementing Elfman's status as a master composer.
Why They Are Widely Quoted or Remembered
--------------------------------------------
Danny Elfman's impact on popular culture is undeniable. His music and film scores have become synonymous with many beloved movies. As a master composer, he continues to push the boundaries of his craft, inspiring new generations of musicians and filmmakers.
With an illustrious career spanning over four decades, Danny Elfman remains one of the most respected figures in the entertainment industry.
Quotes by Danny Elfman
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.
I think that’s one of the things that has always put me in kind of an odd niche. It’s that all of my understanding of orchestral music is via film, not via classical music like it’s supposed to be. To me it’s the same, it doesn’t make any difference.
I would have to say I might do some stuff, but it’s the film that’s appealing. I was raised on film. My musical experience is all via film, it’s not from classical music.
Or certainly I would need time – which I would love to have but there almost never is on a film – to just spend a week with a roomful of guys laying down these patterns.
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.
I think that there’s a lot more freedom in the low budget, the independent films where, unfortunately, you don’t have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.
You have to write a good score that you feel good about. At least, you’re supposed to. But, if the director hates it, it ain’t going to be in the movie!
I’m trying to interpret the film through the director’s head, but it all comes out through me. So, a composer is kind of like a psychic medium.
You’ll never get me into a tux. Not until I’m dead and I have no choice because that’s what the undertaker put me in.