Bill GrandPre

I'll believe it when it comes from a reliable source.

Don't you ever, EVER compare me to "Family Guy," you hear me Kyle? Compare me to "Family Guy" again and so help me, I will kill you where you stand!

Do you have any idea what it's like? Everywhere I go: "Hey Cartman you must like 'Family Guy,' right?" "Hey, your sense of humor reminds me of 'Family Guy' Cartman!" I AM NOTHING LIKE FAMILY GUY! WHEN I MAKE JOKES THEY ARE INHERENT TO A STORY! DEEP SITUATIONAL AND EMOTIONAL JOKES BASED ON WHAT IS RELEVANT AND HAS A POINT, NOT JUST ONE RANDOM INTERCHANGEABLE JOKE AFTER ANOTHER!
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John Mansor

I wonder what Sam Raimi thought about this. She is really trying hard to not to be asked back for Spiderman 4.

JonZ

Makes me wonder if theres somethign bad going on behind the scenes.Danny Elfman and Raimi had a falling out,with Elfman saying some pretty bad things about Sam.Spiderman 3 had something to do with it.

If this is true,I wonder why Raimi changed his mind abotu Venom - studio pressure?

Anyone else think its odd to have 2 shape shifters in one film?If Venom is in this, I dont think its gonna be the Venom everyone is used to seeing.

Im still not 100% convinced Venom will be in this film.

DavidPla

I think it had more to do with the scoring of "Spider-Man 2". At CHUD they had an interview with Elfman who elaborated a bit on what went wrong.

""Elfman: Spider-Man 2 was a miserable experience.

Q: Why? Was it too fast or –

Elfman: It’s a complicated thing.

Q: Why was it complicated?

Elfman: My connection to Sam got completely severed. As far as I’m concerned, he went to sleep and somebody put a pod next to him and when he awoke, he wasn’t the same person I’ve known for a decade.

Q: Will you work with him again?

Elfman: No. He went from right there, number 2 on my list of favorite directors, to the last – to the exact opposite of everything I look for in a film experience. Everything I could do on Spider-Man 1 I couldn’t do on Spider-Man 2. He got so intensely attached to the temp music, I couldn’t even adapt my own music. I couldn’t get close enough to me.""


As told on http://elfman.filmmusic.com/ , apparently Raimi had become so comfortable with the temp track to "Spider-Man 2" that he wanted to license certain tracks from other movies. For example, Spielberg refused to license "Anderton's Great Escape" from Minority Report for Sam Raimi. They tempted that particular track for the train sequence and wanted to license it because Elfman refused to rip it off. So in the end, they threw out some of Elfman's music he composed for the film, check out the score soundtrack to hear what the tracks would've sounded like, and brought in other composers to "borrow" tracks of music from other films. Which is why a lot of Christopher Young's music is lifted directly from his own "Hellraiser" score.

ThomasC

about Elfman not scoring Spider-Man 3. Hopefully they can patch things up, but I'm not holding my breath.

The man I loved - the man who vanished - he never came back at all. But maybe he's still out there, somewhere. Maybe some day, when Gotham no longer needs Batman, I'll see him again.

TerryRL

Things change when you've gone from doing smaller movies to helming two of the biggest hits in history (both Spidey flicks rank among the top ten biggest domestic hits ever). Sam Raimi now has different sorts of pressures on him than he used do before his 'Spider-Man' days.

With "Spider-Man 3", he's now in charge of a movie that is going to cost the studio between $275-$300 million to make (Spidey 2 cost $250 million to make and market). Combined, the two Spidey movies have cost Sony close to $450 million to make and market.

By the time they get to Spidey 4, they will have spent over $1 billion to make and market them all, easily make 'Spider-Man' the most expensive film franchise in history. Despite the movies being "sure things" at the box office, that is still a helluva lot of pressure to deal with.

Although Raimi has long stated his disdain for the Venom character, Sony REALLY wanted him in the third one (next to the Green Goblin, Venom is widely regarded as Spidey's most popular nemesis) and Raimi seems to have obliged. But instead of casting someone like a Vin Diesel type, he chose a strong actor to fill the role (physically Topher Grace looks more like Carnage, but I think he'll do a solid job as Venom). Willem Defoe was wildly over-the-top in the first movie, but I think Alfred Molina nailed Doc Ock in Spidey 2. Both Grace and Thomas Haden Church are going to have an uphill climb to top what Molina did in the second film (but that's just my opinion).

Raimi is now looking at the biggest payday of his career with the third film (between $12.5 and $15 million) and the fourth movie could net him the same sort of deal Universal gave Peter Jackson for "King Kong" (a 20/20 deal), making Raimi one of the top three highest paid directors in the industry (Spielberg is the third name on that short list).

I was sorry to hear Raimi and Danny Elfman's falling out (word around the campfire is that Elfman believes the success of the two Spidey flicks has made Raimi a bit too big headed), but Sony will have little difficulty in finding someone to replace Mr. Elfman if he indeed does not return for Spidey 3.

A whole host of composers will likely throw their names into the hat as possible replacements just for the chance to be associated with such a large franchise like 'Spider-Man'.

Despite all of the drama going on behind-the-scenes, Sony intends "Spider-Man 3" to be the biggest and best of the franchise thus far. They are also hoping that moving the release back to the first weekend of May (ala the first film) will give the movie a better shot at topping the $403.7 million domestic haul of the original film. They are already expecting a bigger opening weekend than the near $115 million debut of film #1.

In a summer that is already boasting "Shrek 3", "The Transformers", possibly the fourth 'Indiana Jones' adventure, and 'The Pirates of the Caribbean' finale, Sony wants to be the first out of the gates and make as much money as they can before the other heavyweights hit the big screen. This approach worked like a charm with the first movie.

"Quite an experience to live in fear isn't it? That's what it is to be a slave."

Greg_S_H

How often does that happen, taking cues from existing scores and licensing them for your own movie? I know it's done for trailers, but it doesn't seem very usual for the actual film.

ThomasC

Superman 2-4.

The man I loved - the man who vanished - he never came back at all. But maybe he's still out there, somewhere. Maybe some day, when Gotham no longer needs Batman, I'll see him again.

Sean Laughter

Ah, so when I was watching the film with friends and we got to the experiment-gone-awry scene and I said, "They so ripped off Hellraiser's score here" I wasn't just being a smart ass!!!

I have the score soundtrack, but don't really remember hearing anything in the score soundtrack that's not in the film, of course I never paid that much attention, what tracks on the soundtrack aren't used in the film?

DavidPla

Dewey's theme from "Scream 2" was lifted from the theme of "Broken Arrow".



Tracks of note are Train/Appreciation and Aunt May Packs.

TheLongshot

Wasn't there a que in "Kingdom Of Heaven" that was taken from another film? Edit: it was from "The 13th Warrior"

I also know that Ridley Scott, in the original Goldsmith score, took a que from his Psycho II score. I've also heard that Scott did some similar mucking around with the "Alien" score. Apparently there were some bad feelings over this between Goldsmith and Scott, and that's the reason that they never worked together again.

Jason

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