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THE BIG PICTURE PATRICK GOLDSTEIN

Elfman masters a monster: Score one for 'The Hulk'

June 24, 2003|PATRICK GOLDSTEIN

Danny Elfman knew something was up when his phone rang late one night in March. The always-in-demand film composer was taking time off so he could move into a new house and plan his wedding, to actress Bridget Fonda. The call was from Universal's president of film music, Kathy Nelson, who was in San Francisco, where the studio's top brass had just seen a rough cut of "The Hulk," Ang Lee's ambitious -- and costly -- summer action drama.

It didn't take Elfman long to figure out what Nelson wanted; the studio's biggest movie of the year needed a new composer -- and with the movie's release less than three months away, it needed one fast.

An old friend, Nelson wasn't exactly calling with a hope and a prayer. She knew Elfman was a big fan of Ang Lee and, perhaps more important, that he was available: Fonda had been in a serious car accident, delaying the wedding. If anyone could handle the scope of a film like "The Hulk," it was Elfman, who has scored a slew of larger-than-life movies, including "Batman," "Spider-Man," "Planet of the Apes," "Mission Impossible" and both "Men in Black" films. Nelson also knew the 50-year-old composer loves a challenge.

"Of all the composers I know, Danny's the one with a true extreme sports mentality. He does his best work under tremendous pressure," she says. The next day Elfman flew up to ILM, where Lee was working on the effects for the $137-million film, which opened this weekend, taking in $62.1 million. Elfman knew the situation was fraught with peril. Composers normally have at least 10 to 12 weeks to write a score for a big movie. "I had 37 days to write two hours of score, and there's a point where you go, either I'm going to make it or it's going to kill me," Elfman recalls, sipping an espresso in the kitchen of his new home, a 1920 Spanish-style house that was originally owned by a concert pianist.

After Elfman watched "The Hulk," he had a difficult series of conversations with Lee, who was obviously distressed that the studio wanted to bring in Elfman. Mychael Danna, the original composer, was a friend who'd worked with Lee on several previous films. "It was a very extreme situation," Elfman recalls. "I wouldn't have even flown up there if it hadn't been for how much respect I have for Ang. I had this horrible fear that he'd look at me like this Hollywood hack who'd come in and do a predictable action movie score. After I looked at the film, I went home and had nightmares all night long -- and that was before I realized how little time I had to do it."

The most awkward discussion, according to Elfman, was one in which he essentially told Lee: Even though you don't know me, you're going to have to put a certain amount of blind trust in me to do the right thing. "Because I was flying by the seat of my pants, I told him, 'There's no way I can give you 100% of what you want. To do that would require a lot of exploration and learning about each other, but we just don't have the time.' " (Lee's studio reps said he was "too busy" to talk to us about working with Elfman.)

Elfman has been brought in to replace composers before, as on "Mission Impossible," but his rule is to take a job only if the decision has already been made to fire a composer. "I want to know that if I don't do it, they'll just go on to someone else on the list."

$1.5 million per film

His arrival on "Hulk" went largely unnoticed. The entertainment press obsessively chronicles the hiring and firing of actors, directors or screenwriters on movies, but composers usually get short shrift. Universal's 45-page "Hulk" press booklet, for example, has interviews with everyone from the film's stars to its costume designer and science consultant, but not one word from Elfman.

Still, for music fans, composers like Elfman, Randy Newman and John Williams are distinct personalities, whose original scores are viewed as artwork that often overshadows the movies they adorn. Elfman is among the highest-paid composers, getting roughly $1.5 million per film, plus box office bonuses.

But his real effect is rarely noticed. Gus Van Sant's film, "To Die For," was considered un-releasable after disastrous early test screenings. It was only after the film was screened with Elfman's music, which adroitly emphasized the film's satiric tone, that audiences responded to its sly humor. As Elfman's longtime agent, Richard Kraft, puts it: "Danny is the Red Adair of film music. If there's a fire, people turn to Danny to put it out."

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