Danny Elfman - Hitchcock: Original Motion Picture Soundtrack (2012)
Danny Elfman - Hitchcock: Original Motion Picture Soundtrack (2012)
EAC | FLAC (Tracks) + cue.+log ~189 Mb | Mp3, CBR320 kbps ~ 89 Mb | Scans ~ 89 Mb
Soundtrack, Score | Label: Sony Classical/Fox Music | # 88765417072 | 00:38:55
EAC | FLAC (Tracks) + cue.+log ~189 Mb | Mp3, CBR320 kbps ~ 89 Mb | Scans ~ 89 Mb
Soundtrack, Score | Label: Sony Classical/Fox Music | # 88765417072 | 00:38:55
Director Sacha Gervasi's 2012 Alfred Hitchcock biopic was less of a proper biography and more of a breakdown of the events leading up to the release of 1959's Psycho. Composer Danny Elfman's elegant score reflects that sense of minutia, offering up a scant 38 minutes of material, much of which clocks in at under a minute. Elfman's signature blend of dread, whimsy, and mischief serves the tone of the story well, and while it may not be as stocked with memorable themes as some of his better-known works, it dutifully conveys the pathos, unpredictability, and humor of its source material.Review by James Christopher Monger, Allmusic.com
Based on Stephen Rebello's non-fiction book "Alfred Hitchcock and the Making of Psycho," director Sacha Gervasi's 2012 biographical examination of the famed Hitchcock during his process of preparing for and making the movie Psycho in 1959 is largely a revelation about his working and personal relationship with his wife, Alma Reville. While it was Hitchcock who initiated the project after discovering his fascination with the Wisconsin mass murderer that inspired the character of Norman Bates, Reville was largely responsible for assisting the director in guiding some of the most important aspects of its production, including the story and score, and ultimately caught bloopers in Psycho's shower scene that were edited out at the last minute. With respect and admiration, Hitchcock doesn't shy away from the perverse sense of humor often associated with the iconic filmmaker, its length littered with hilarious one-liners from the director. Unfortunately, while the secondary cast members in Hitchcock do an exemplary job emulating the real-life crew, the casting of Anthony Hopkins as Hitchcock himself has led to some dissatisfaction; his voice is so distinct to the actor that, in one scene during which he describes severed body parts with glee at a press lunch, hints of Hannibal Lector can be heard. Still, the highlights of Hitchcock are worthy of a few good laughs, and film score fans will be enthused about television actor Paul Schackman's performance as Bernard Herrmann. Obsessed with both Hitchcock and Herrmann is composer Danny Elfman, who was not only inspired by Herrmann early in his career but re-recorded the classic Psycho score for Gus Van Sant's 1998 shot-for-shot remake of the film. In an interview with CinemaNerdz, Gervasi stated that he was shooting a scene for Hitchcock and "suddenly I turned around and there was this sort of curious looking ginger-haired gentleman with headphones watching the monitor. And he was quite in an odd mode at that particular moment. He was looking like a bit of a mad person that day. Someone said, 'That's Danny Elfman.' I was like, 'What the hell is Danny Elfman doing here?' And they said, 'Well he's interested in doing the score.' And I was like, 'What?'"
Elfman's schedule in 2012 was extraordinarily busy. He had already pulled out of Hunger Games to tackle five other assignments, but his self-propelled enthusiasm for Hitchcock caused him to squeeze it into the schedule. Not surprisingly, some vintage music is used as source or tribute material, most notably the screeching shower sequence from Psycho heard after the argument between Hitchcock and Herrmann (it's possible, given the sound quality of this material, that Elfman simply accessed his 1998 recording of the cue) and the "Funeral March for a Marionette" by Charles Gounod, Hitchcock's personal theme in living, arranged by Elfman for a fresh recording here. The original score for Hitchcock consists of a partial orchestra (seemingly minus brass) and a few notable accents, a solo piano and various string contributors carrying the bulk of the load. While Elfman's take on the film is distinctly his own, sounding very much like the late 1980's/early 1990's mannerisms of the composer, he does make some obvious nods to Herrmann's style along the way. The best among these emulations may be "Impulses," a mock horror cue that resurrects Herrmann's churning cello techniques, and "Explosion," in which glassy percussion interrupts another string horror outburst. Outside of these moments, however, listeners may be surprised by just how thoroughly Elfman's own musical personality dominates Hitchcock. Make no mistake about it; this is very much an Elfman score rather than an extensive Herrmann tribute. His two main themes and minor motifs are all comfortable when placed amongst his early orchestral works, his own sense of humor informing several buoyant cues as well. The primary theme in Hitchcock is one of affection between Hitchcock and his wife, a whiny at times but ultimately satisfying and almost melancholy and tired representation of love. Introduced on high strings in "Theme from Hitchcock," the idea takes most of the score to establish itself, recurring with lament on solo piano in "Fantasy Smashed" and on dramatic strings in middle of "Finally." Perhaps the most redemptive performance of the idea come at the very end of the score, with plaintive string performances in "Home at Last" and longer treatment on piano and strings throughout the subdued "End Credits #2."
Don't expect the love theme to compete well with the other major identity in Hitchcock, the one for the director himself. Elfman gives it dual personalities and sometimes prefaces it with a direct quote from a supporting motif in Batman. This prelude of sorts introduces a hint of the Hitchcock theme in "Logos," a cue that may as well be from either of Elfman's Batman scores after the harp references to Herrmann in the opening bars. More of this reference can be heard in "Paramount/Out the Gate" (opening the cue whimsically and returning on woodwinds later) and with subtlety in the middle of "Suspicion." The darker variant of the theme for Hitchcock himself is a bit sinister and supports the vital "Saving the House" cue (leading into the Herrmann argument scene) before Elfman allows it to flourish with wicked solo violin performances surrounded by tumult in "End Credits #1." Opposing the grisly side of this theme are the perky and vibrant performances representing the director's humor and larger-than-life persona. While a little closer to the "Funeral March" in personality, this version is actually a lively waltz seemingly derived from an old song about sunshine and mornings, exploding early in "Paramount," closing out "The Swim," flourishing at the start of "Walk With Hitch" (the exuberant side of an equivalent opening to "It's a Wrap"), and really let loose with upbeat retro jazz style in "Selling Psycho." Three singular cues merit specific mentioning outside of obvious thematic applications, the first which the absolutely riotous tribute to Scrooged that occupies all of the short cue, "The Premiere." A flurry of piano suspense at the end of "Celery" is especially gripping and may even have a slight electric guitar contribution in the background. The opening of "Finally" expresses relief through an elongated, expansive dramatic interlude for strings in almost John Barry fashion. Overall, Hitchcock is a fun score for the Elfman enthusiast and contains enough substance to justify its rather short album presentation. The themes do seem slightly underutilized, especially in how Elfman alternates between the darker and upbeat variations on the identity for the titular character. Then again, many of the film's best conversational moments exist without any music spotted in them, so the composer may have been restricted a bit in his opportunities for deeper development. Elfman collectors will be especially thrilled by how much of the composer's own musical personality thrives in this context, further connecting him with the Hitchcock and Herrmann legacy.Editorial Review by FilmTracks.com
Danny Elfman - Hitchcock: Original Motion Picture Soundtrack (2012)
Danny Elfman - Hitchcock: Original Motion Picture Soundtrack (2012)
Tracklist:
01. Logos (00:49)
02. Theme From 'Hitchcock' (01:22)
03. The Premiere (00:40)
04. Paramount / Out Of Gate (01:56)
05. Mommy Dearest (00:58)
06. In Bed (00:36)
07. Impulses (01:29)
08. The Censor (00:59)
09. The Swim (02:03)
10. Peeping (00:36)
11. Sacrifices (01:16)
12. Walk With Hitch (00:56)
13. Celery (01:59)
14. Telephone (01:08)
15. Suspicion (02:30)
16. Explosion (03:11)
17. Selling Psycho (01:38)
18. Fantasy Smashed (01:30)
19. The Sand (01:22)
20. It's A Wrap (01:05)
21. Busted (00:58)
22. Saving The House (01:00)
23. Finally (01:46)
24. Home At Last (01:00)
25. End Credits #1 (02:33)
26. End Credits #2 (02:29)
27. Funeral March For A Marionette (00:53)
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 14. January 2013, 21:19
Danny Elfman / Hitchcock
Used drive : PLEXTOR CD-R PX-230A Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 738
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
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Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
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TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 0:49.39 | 0 | 3713
2 | 0:49.39 | 1:22.19 | 3714 | 9882
3 | 2:11.58 | 0:40.54 | 9883 | 12936
4 | 2:52.37 | 1:56.70 | 12937 | 21706
5 | 4:49.32 | 0:58.42 | 21707 | 26098
6 | 5:47.74 | 0:36.53 | 26099 | 28851
7 | 6:24.52 | 1:29.58 | 28852 | 35584
8 | 7:54.35 | 0:59.37 | 35585 | 40046
9 | 8:53.72 | 2:03.19 | 40047 | 49290
10 | 10:57.16 | 0:36.14 | 49291 | 52004
11 | 11:33.30 | 1:16.42 | 52005 | 57746
12 | 12:49.72 | 0:56.51 | 57747 | 61997
13 | 13:46.48 | 1:59.52 | 61998 | 70974
14 | 15:46.25 | 1:08.09 | 70975 | 76083
15 | 16:54.34 | 2:30.24 | 76084 | 87357
16 | 19:24.58 | 3:11.10 | 87358 | 101692
17 | 22:35.68 | 1:38.37 | 101693 | 109079
18 | 24:14.30 | 1:30.55 | 109080 | 115884
19 | 25:45.10 | 1:22.13 | 115885 | 122047
20 | 27:07.23 | 1:05.37 | 122048 | 126959
21 | 28:12.60 | 0:58.04 | 126960 | 131313
22 | 29:10.64 | 1:00.72 | 131314 | 135885
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24 | 31:58.43 | 1:00.15 | 143893 | 148407
25 | 32:58.58 | 2:33.50 | 148408 | 159932
26 | 35:32.33 | 2:29.09 | 159933 | 171116
27 | 38:01.42 | 0:53.62 | 171117 | 175153
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Track 2
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Track 3
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Track 4
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Track 5
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Track 7
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Track 8
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Track 9
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Track 11
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Track 12
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Track 13
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Track 14
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Track 17
Filename C:\Music\17 - Danny Elfman - Selling Psycho.wav
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Track 18
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Track 19
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Track 22
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Track 23
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Track 24
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Track 25
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Track 26
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Track 27
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End of status report
==== Log checksum 563833CF717B3639520F3270268EA675868906FD0F757200AFEC58893D29AF94 ====
EAC extraction logfile from 14. January 2013, 21:19
Danny Elfman / Hitchcock
Used drive : PLEXTOR CD-R PX-230A Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 738
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 896 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "ALBUMARTIST=%albuminterpret%" -T "COMPOSER=%composer%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 0:49.39 | 0 | 3713
2 | 0:49.39 | 1:22.19 | 3714 | 9882
3 | 2:11.58 | 0:40.54 | 9883 | 12936
4 | 2:52.37 | 1:56.70 | 12937 | 21706
5 | 4:49.32 | 0:58.42 | 21707 | 26098
6 | 5:47.74 | 0:36.53 | 26099 | 28851
7 | 6:24.52 | 1:29.58 | 28852 | 35584
8 | 7:54.35 | 0:59.37 | 35585 | 40046
9 | 8:53.72 | 2:03.19 | 40047 | 49290
10 | 10:57.16 | 0:36.14 | 49291 | 52004
11 | 11:33.30 | 1:16.42 | 52005 | 57746
12 | 12:49.72 | 0:56.51 | 57747 | 61997
13 | 13:46.48 | 1:59.52 | 61998 | 70974
14 | 15:46.25 | 1:08.09 | 70975 | 76083
15 | 16:54.34 | 2:30.24 | 76084 | 87357
16 | 19:24.58 | 3:11.10 | 87358 | 101692
17 | 22:35.68 | 1:38.37 | 101693 | 109079
18 | 24:14.30 | 1:30.55 | 109080 | 115884
19 | 25:45.10 | 1:22.13 | 115885 | 122047
20 | 27:07.23 | 1:05.37 | 122048 | 126959
21 | 28:12.60 | 0:58.04 | 126960 | 131313
22 | 29:10.64 | 1:00.72 | 131314 | 135885
23 | 30:11.61 | 1:46.57 | 135886 | 143892
24 | 31:58.43 | 1:00.15 | 143893 | 148407
25 | 32:58.58 | 2:33.50 | 148408 | 159932
26 | 35:32.33 | 2:29.09 | 159933 | 171116
27 | 38:01.42 | 0:53.62 | 171117 | 175153
Track 1
Filename C:\Music\01 - Danny Elfman - Logos.wav
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Track 2
Filename C:\Music\02 - Danny Elfman - Theme From ''Hitchcock''.wav
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Track 3
Filename C:\Music\03 - Danny Elfman - The Premiere.wav
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Track 4
Filename C:\Music\04 - Danny Elfman - Paramount , Out Of Gate.wav
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Track 5
Filename C:\Music\05 - Danny Elfman - Mommy Dearest.wav
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Track 6
Filename C:\Music\06 - Danny Elfman - In Bed.wav
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Track 7
Filename C:\Music\07 - Danny Elfman - Impulses.wav
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Track 8
Filename C:\Music\08 - Danny Elfman - The Censor.wav
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Track 9
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Track 10
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Track 11
Filename C:\Music\11 - Danny Elfman - Sacrifices.wav
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Track 12
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Track 13
Filename C:\Music\13 - Danny Elfman - Celery.wav
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Track 14
Filename C:\Music\14 - Danny Elfman - Telephone.wav
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Track 15
Filename C:\Music\15 - Danny Elfman - Suspicion.wav
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Track 16
Filename C:\Music\16 - Danny Elfman - Explosion.wav
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Track 17
Filename C:\Music\17 - Danny Elfman - Selling Psycho.wav
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Track 18
Filename C:\Music\18 - Danny Elfman - Fantasy Smashed.wav
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Track 19
Filename C:\Music\19 - Danny Elfman - The Sand.wav
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Track 20
Filename C:\Music\20 - Danny Elfman - It's A Wrap.wav
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Extraction speed 2.8 X
Track quality 100.0 %
Test CRC 94B648CD
Copy CRC 94B648CD
Track not present in AccurateRip database
Copy OK
Track 21
Filename C:\Music\21 - Danny Elfman - Busted.wav
Peak level 94.4 %
Extraction speed 2.8 X
Track quality 100.0 %
Test CRC FC35E6CB
Copy CRC FC35E6CB
Track not present in AccurateRip database
Copy OK
Track 22
Filename C:\Music\22 - Danny Elfman - Saving The House.wav
Peak level 94.4 %
Extraction speed 4.2 X
Track quality 100.0 %
Test CRC 9D2367EB
Copy CRC 9D2367EB
Track not present in AccurateRip database
Copy OK
Track 23
Filename C:\Music\23 - Danny Elfman - Finally.wav
Peak level 94.4 %
Extraction speed 2.9 X
Track quality 100.0 %
Test CRC 902425C9
Copy CRC 902425C9
Track not present in AccurateRip database
Copy OK
Track 24
Filename C:\Music\24 - Danny Elfman - Home At Last.wav
Peak level 94.4 %
Extraction speed 3.4 X
Track quality 100.0 %
Test CRC 4AB2E06B
Copy CRC 4AB2E06B
Track not present in AccurateRip database
Copy OK
Track 25
Filename C:\Music\25 - Danny Elfman - End Credits #1.wav
Pre-gap length 0:00:01.01
Peak level 95.3 %
Extraction speed 3.0 X
Track quality 99.9 %
Test CRC 5668F1EF
Copy CRC 5668F1EF
Track not present in AccurateRip database
Copy OK
Track 26
Filename C:\Music\26 - Danny Elfman - End Credits #2.wav
Peak level 81.9 %
Extraction speed 3.5 X
Track quality 100.0 %
Test CRC FF4932B2
Copy CRC FF4932B2
Track not present in AccurateRip database
Copy OK
Track 27
Filename C:\Music\27 - Danny Elfman - Funeral March For A Marionette.wav
Pre-gap length 0:00:04.00
Peak level 98.6 %
Extraction speed 3.1 X
Track quality 100.0 %
Test CRC 22E6C7F5
Copy CRC 22E6C7F5
Track not present in AccurateRip database
Copy OK
None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
==== Log checksum 563833CF717B3639520F3270268EA675868906FD0F757200AFEC58893D29AF94 ====
foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2013-03-28 13:29:15
––––––––––––––––––––––––––––––––––––––––
Analyzed: Danny Elfman / Hitchcock
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR9 -1.91 dB -19.47 dB 0:50 01-Logos
DR10 -4.80 dB -20.56 dB 1:22 02-Theme From 'Hitchcock'
DR8 -0.50 dB -11.81 dB 0:41 03-The Premiere
DR10 -0.25 dB -15.70 dB 1:57 04-Paramount / Out Of Gate
DR10 -3.90 dB -19.79 dB 0:59 05-Mommy Dearest
DR10 -1.25 dB -17.25 dB 0:37 06-In Bed
DR11 -0.50 dB -16.58 dB 1:30 07-Impulses
DR13 -1.27 dB -18.83 dB 0:59 08-The Censor
DR11 -0.48 dB -16.63 dB 2:03 09-The Swim
DR9 -4.18 dB -19.38 dB 0:36 10-Peeping
DR10 -0.50 dB -16.70 dB 1:17 11-Sacrifices
DR11 -1.92 dB -16.39 dB 0:57 12-Walk With Hitch
DR9 -0.50 dB -14.65 dB 2:00 13-Celery
DR10 -0.50 dB -15.19 dB 1:08 14-Telephone
DR11 -2.17 dB -21.21 dB 2:30 15-Suspicion
DR9 -0.44 dB -15.14 dB 3:11 16-Explosion
DR10 -0.95 dB -16.17 dB 1:38 17-Selling Psycho
DR11 -10.35 dB -26.34 dB 1:31 18-Fantasy Smashed
DR10 -0.50 dB -15.51 dB 1:22 19-The Sand
DR10 -9.54 dB -23.55 dB 1:05 20-It's A Wrap
DR7 -0.50 dB -13.87 dB 0:58 21-Busted
DR10 -0.50 dB -15.44 dB 1:01 22-Saving The House
DR11 -0.50 dB -16.05 dB 1:47 23-Finally
DR10 -0.50 dB -17.09 dB 1:00 24-Home At Last
DR11 -0.41 dB -14.89 dB 2:34 25-End Credits #1
DR11 -1.72 dB -19.19 dB 2:29 26-End Credits #2
DR10 -0.12 dB -15.91 dB 0:54 27-Funeral March For A Marionette
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 27
Official DR value: DR10
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 655 kbps
Codec: FLAC
================================================================================
log date: 2013-03-28 13:29:15
––––––––––––––––––––––––––––––––––––––––
Analyzed: Danny Elfman / Hitchcock
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR9 -1.91 dB -19.47 dB 0:50 01-Logos
DR10 -4.80 dB -20.56 dB 1:22 02-Theme From 'Hitchcock'
DR8 -0.50 dB -11.81 dB 0:41 03-The Premiere
DR10 -0.25 dB -15.70 dB 1:57 04-Paramount / Out Of Gate
DR10 -3.90 dB -19.79 dB 0:59 05-Mommy Dearest
DR10 -1.25 dB -17.25 dB 0:37 06-In Bed
DR11 -0.50 dB -16.58 dB 1:30 07-Impulses
DR13 -1.27 dB -18.83 dB 0:59 08-The Censor
DR11 -0.48 dB -16.63 dB 2:03 09-The Swim
DR9 -4.18 dB -19.38 dB 0:36 10-Peeping
DR10 -0.50 dB -16.70 dB 1:17 11-Sacrifices
DR11 -1.92 dB -16.39 dB 0:57 12-Walk With Hitch
DR9 -0.50 dB -14.65 dB 2:00 13-Celery
DR10 -0.50 dB -15.19 dB 1:08 14-Telephone
DR11 -2.17 dB -21.21 dB 2:30 15-Suspicion
DR9 -0.44 dB -15.14 dB 3:11 16-Explosion
DR10 -0.95 dB -16.17 dB 1:38 17-Selling Psycho
DR11 -10.35 dB -26.34 dB 1:31 18-Fantasy Smashed
DR10 -0.50 dB -15.51 dB 1:22 19-The Sand
DR10 -9.54 dB -23.55 dB 1:05 20-It's A Wrap
DR7 -0.50 dB -13.87 dB 0:58 21-Busted
DR10 -0.50 dB -15.44 dB 1:01 22-Saving The House
DR11 -0.50 dB -16.05 dB 1:47 23-Finally
DR10 -0.50 dB -17.09 dB 1:00 24-Home At Last
DR11 -0.41 dB -14.89 dB 2:34 25-End Credits #1
DR11 -1.72 dB -19.19 dB 2:29 26-End Credits #2
DR10 -0.12 dB -15.91 dB 0:54 27-Funeral March For A Marionette
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 27
Official DR value: DR10
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 655 kbps
Codec: FLAC
================================================================================
Danny Elfman - Hitchcock: Original Motion Picture Soundtrack (2012)
Danny Elfman - Hitchcock: Original Motion Picture Soundtrack (2012)
