Hole Violet Mp3

Danny Elfman on Tim Burton, Gus Van Sant, and why it's so hard to sing in ...

. It was the purest, simplest process I had in all the years with Tim. There was less pressure, and the results came from the ability to kind of wander. We didn’t know how to start doing a musical; there was an animation crew ready to go and there was no script. So we started with the songs. And literally, he’d come over and start telling me the story.

I said, ‘Just tell me the story like you’re reading a book to a kid.’ So he’d take out some pictures and tell a little bit of the story, and as he was telling the story, I’d start to hear an idea for a song. Usually about three days later, I’d play him the song, and then he would tell me more of the story. Ten times we got together, he told me a story and I wrote the songs. When I was writing lyrics for [Oingo Boingo], I would write about abstract things or things that annoyed me. I could be bitter or facetious about something. I had never written anything where I told a story and wasn’t sarcastic in the process. It was a new experience writing lyrics for songs that were doing a complete narrative.” . It was like I was having too good of a time. Writing down all the voices, playing the parts, doing the demos for the five tunes, that had to be the next best collaborative fun. And I say ‘collaborative’ on both of those because much more than I’ve done on any film with any director, including Tim. It really was a collaboration.

Those songs in the original [ Charlie and the Chocolate Factory , which is a famous Jerry Goldsmith score. No matter what you do, you’re picking up something that’s sacred for some part of the culture, and if you think about that for two seconds, it’s just going to make you anxious. The best thing to to is to just go, ‘Well, whatever. That thing was that thing, and this is a different thing.’ You either forget about it or you pay homage to it. There’s really nothing in between.

We decided early on that we weren’t going to pay homage to the original. Tim made it really clear from the beginning that we weren’t even going to get close. In fact, he wanted to do the opposite. He wanted to pick these crazy pop styles that might exist in Willy Wonka’s world. The first he wanted to do was Bollywood, then he wanted to do some ’60s psychedelia. He had all these ideas – ‘Can we do a little bit of ABBA, a little bit of Beach Boys? We have to have a funk tune for Violet, like ’70s funk.’ It was just a great time that had nothing whatsoever to do with the original. That opened the door to great silly fun.