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18 lug 2023 · Darkman on IMDB. A. Previous. Previous. Article 99. Next. Next. Dick Tracy. Sign up for Danny Elfman’s mailing list! Email Address. Sign Up. We respect ...
1990 soundtrack album by Danny Elfman. This page was last edited on 4 April 2024, at 07:33. All structured data from the main, Property, Lexeme, and EntitySchema namespaces is available under the Creative Commons CC0 License; text in the other namespaces is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply.
Star Wars Trilogy (The Original Soundtrack Anthology) John Williams (4), London Symphony Orchestra. Released. 1993 — US. Box Set —. Compilation. Explore the tracklist, credits, statistics, and more for Clive Barker's Nightbreed (Original Motion Picture Soundtrack) by Danny Elfman. Compare versions and buy on Discogs.
1 gen 1988 · SOUNDTRACK · 1988. Preview. Though Beetlejuice’s most recognizable musical cues will always be Harry Belafonte’s “Day-O” and “Jump in the Line,” the movie wouldn’t have been what it was without Danny Elfman’s score. While Elfman’s work on Pee-wee’s Big Adventure had been manic and idiosyncratic , his Beetlejuice work was ...
La-La Land Records, Universal Pictures, Universal Music Special Markets and Geffen Records celebrate the 30th Anniversary of the 1990 motion picture DARKMAN with a remastered and expanded 2-CD presentation of renowned composer Danny Elfman’s (BATMAN, BATMAN RETURNS, EDWARD SCISSORHANDS) original score.
3 ott 2017 · Waxwork Records is proud to present the deluxe vinyl re-issue of DARKMAN Original Motion Picture Score. Directed by Sam Raimi (Evil Dead, Evil Dead 2, Army Of Darkness) and starring Liam Neeson, DARKMAN is a 1990 dark superhero film that pays homage to classic Universals horror films from the 1930's and 40's.
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A nightmare of a picture, Darkman is as much a product of its Gothic surroundings as Batman was, and it's no surprise whatsoever that Elfman was anxious to score the picture. At that period in Elfman's career, the composer couldn't get enough of morbidly tragic characters, and his music for those identities was usually as consistent in its symphonic depth as it was in its success.
