Editing Danny Elfman (section)

==Influences and style==
Elfman has said his major influences are composers from [[Classical Hollywood cinema|Hollywood's Golden Age]], such as [[Bernard Herrmann]], [[Dimitri Tiomkin]], [[Max Steiner]], [[David Tamkin]], [[Erich Wolfgang Korngold]], and [[Carl W. Stalling|Carl Stalling]]; [[20th-century music|20th century]] [[List of classical music composers by era|classical composers]] [[Sergei Prokofiev]], [[Igor Stravinsky]], [[Béla Bartók]], [[Dmitri Shostakovich]], and [[Carl Orff]]; and [[jazz]], [[Experimental music|experimental]] and [[Minimalist (music)|minimalist]] composers [[Kurt Weill]], [[Duke Ellington]], [[Harry Partch]], [[Philip Glass]], [[Lou Harrison]], [[Terry Riley]], and [[Steve Reich]].<ref name=":0">Elfman, Danny. "A note from the Composer." Liner notes. Serenada Shizophrana. CD. Sony Classical, 2006.</ref><ref>{{Cite web|url=https://www.sfcv.org/events-calendar/artist-spotlight/danny-elfman-is-always-eying-the-next-thing|title=Danny Elfman Is Always Eying the Next Thing|last=Karliss|first=Jeff|date=March 28, 2018|website=San Francisco Classical Voice|access-date=October 20, 2019}}</ref><ref>{{Cite web|url=https://www.americancomposers.org/elfman_interview.htm|title=An interview with composer Danny Elfman|last=Lustig|first=Jessica|date=February 23, 2005|website=americancomposers.org|access-date=October 20, 2019|archive-date=October 26, 2019|archive-url=https://web.archive.org/web/20191026161109/http://www.americancomposers.org/elfman_interview.htm|url-status=dead}}</ref>

Influences on specific scores include [[Erik Satie]] (''[[Forbidden Zone]]''), [[Nino Rota]] (''[[Pee-wee's Big Adventure]]''), [[George Gershwin]] (''[[Dick Tracy (1990 film)|Dick Tracy]]''), [[Pyotr Ilyich Tchaikovsky]] (''[[Edward Scissorhands]]''), and [[Jimi Hendrix]] (''[[Dead Presidents]]'').<ref name="MCA Records"/><ref name="MAFDTVol2">{{cite AV media|url=https://www.discogs.com/Danny-Elfman-Music-For-A-Darkened-Theatre-Film-Television-Music-Volume-Two/release/985227|title=Music for a Darkened Theatre, Vol 2|date=December 3, 2019|first=Danny|last=Elfman|type=booklet|publisher=MCA|access-date=October 15, 2019|id=MCAD2-11550}}</ref><ref name="vulture2015" /> Though not considered direct influences ''per se'', Elfman has discussed his respect and admiration for film composers [[Jerry Goldsmith]], [[Ennio Morricone]],<ref name="harrington1990" /> [[Thomas Newman]], [[Alexandre Desplat]] and [[John Williams]], as well as classical composer [[John Adams (composer)|John Adams]].<ref>{{cite web |url=https://www.lincolncenter.org/article/podcast-danny-elfman |title=This is Lincoln Center: Danny Elfman |last=Geslain |first=Kristy |date=January 8, 2018 |website=[[Lincoln Center|lincolncenter.org]] |access-date=November 3, 2019 |quote=there are composers that I love that have bridged that gap [between serious and entertaining music]. I mean, most famously amongst them for me, John Adams and Philip Glass |archive-date=November 5, 2019 |archive-url=https://web.archive.org/web/20191105210829/https://www.lincolncenter.org/article/podcast-danny-elfman |url-status=dead }}</ref>

Though many believe [[Richard Wagner]] informed his influential score to ''[[Batman (1989 film)|Batman]]'', Elfman has said it was more likely from Wagner's influence on classic film composers such as Herrmann, Steiner, Waxman and Korngold, as he was unfamiliar with Wagner's work at the time.<ref>{{Cite web|url=https://www.sfcv.org/events-calendar/artist-spotlight/danny-elfman-is-always-eying-the-next-thing|title=Danny Elfman Is Always Eying the Next Thing|last=Kaliss|first=Jeff|date=March 26, 2018|website=San Francisco Classical Voice|access-date=October 20, 2019}}</ref>

Elfman counts Herrmann as his biggest influence, and has said hearing Herrmann's score to ''[[The Day the Earth Stood Still]]'' when he was a child was the first time he recognized [[Film score|film music]] as a cinematic art form and realized the powerful contribution a composer makes to the movies.<ref>{{Cite web|url=https://www.hollywoodreporter.com/news/composers-talk-film-scores-83073|title=Composers talk film scores|date=April 28, 2009|website=The Hollywood Reporter|access-date=October 20, 2019}}</ref> [[Pasticcio|Pastiche]] of Herrmann's music can be heard in Elfman's ''Pee-wee's Big Adventure'', especially the cues "Stolen Bike" and "Clown Dream", which directly reference Herrmann's music from ''[[Psycho (1960 film)|Psycho]]'' and ''[[The 7th Voyage of Sinbad]]'' respectively.<ref>{{cite web |url=https://www.filmtracks.com/titles/pee_wee.html |title=Editorial Reviews: Pee-wee's Big Adventure |author=<!--Not stated--> |date=May 26, 2011 |website=[[Filmtracks]] |access-date=October 23, 2019 |quote=...'Stolen Bike' is perhaps the clearest emulation of Herrmann's fearful tone from Psycho to ever exist (until Elfman ironically re-recorded the classic score in full over a decade later for the remake). }}</ref><ref>{{cite web |url=https://fanfarearchive.com/articles/atop/13_2/1320030.aa_Danny_Elfman_Wunderkind_Filmmusic.html |title=Danny Elfman: Wunderkind of Filmmusic – A Profile |date=Nov–Dec 1989 |format=subscription |access-date=September 25, 2019 |quote=As for the Herrmann touch, Elfman was able to draw from that reservoir in some of the film's more inspires dream sequences. 'There was some strange and wonderful music of Herrmann's that influenced me, in particular, Jason and the Argonauts, The Seventh Voyage of Sinbad, and Mysterious Island.'}} [http://www.boingo.org/articles/FanfareArticle.html Alt URL]</ref> His score to ''Batman'' makes more subtle nods to Herrmann's [[Journey to the Center of the Earth (1959 film)|''Journey to the Center of the Earth'']] and ''[[Vertigo (film)|Vertigo]]'',<ref>{{cite web |url=https://www.filmtracks.com/titles/batman.html |title=Editorial Review: Batman |author=<!--Not stated--> |date=August 29, 1997 |website=[[Filmtracks]] |access-date=October 23, 2019 }}</ref><ref>{{cite podcast |url=http://www.artofthescore.com.au/podcast/2017/7/23/episode-10-batman |title=Episode 10: Batman |website=Art of the Score |date=July 23, 2017 |time=1:01:30 |access-date=October 23, 2019 }}</ref> and more integral [[Homage (arts)|homage]] can be heard in later scores for ''[[Mars Attacks!]]'' and ''[[Hitchcock (film)|Hitchcock]]'', as well as the "Blue Strings" movement of his first concert work ''[[Serenada Schizophrana]]''.

While Elfman is primarily known for writing large-scale orchestral works in the romantic, [[20th-century music|20th century]] and [[Classical Hollywood cinema|Hollywood Golden Age]] [[film score]] traditions, his compositions have used a wide range of idioms, including rock and [[blues]] (''[[Midnight Run]], [[Hot to Trot]]''), [[big band]] and [[jazz]] (''Dick Tracy'', [[Chicago (2002 film)|''Chicago'']]), [[operetta]] (''[[The Nightmare Before Christmas]]'', ''[[Corpse Bride]]''), [[funk]] and [[Hip hop music|hip hop]] (''[[Dead Presidents]]'', ''[[Notorious (2009 film)|Notorious]]''), [[Folk rock|folk]] and [[indie rock]] (''[[Taking Woodstock]]'', ''[[Silver Linings Playbook]]''), [[Americana (music)|Americana]] (''[[Article 99]]'', ''[[Sommersby]]'', ''[[Big Fish]]),'' [[Minimal music|minimalism]] (''[[Good Will Hunting]]'', [[Standard Operating Procedure (film)|''Standard Operating Procedure'']], ''[[The Unknown Known]]''), and [[Atonality|atonal]] or [[Experimental music|experimental]] (''[[Freeway (1996 film)|Freeway]]'', ''[[A Simple Plan (film)|A Simple Plan]], [[The Girl on the Train (2016 film)|The Girl on the Train]]'').

Given his appreciation and study of world music and his vast collection of instruments from non-Western cultures,<ref name="carruthers2015" /> Elfman will often use traditional instruments in his scores when there is an international setting, such as African percussion for ''[[Instinct (1999 film)|Instinct]]'', the [[oud]] for ''[[The Kingdom (2007 film)|The Kingdom]]'' set in [[Saudi Arabia]], and [[pan flute]] for ''[[Proof of Life]]'' set in South America.

When working on films with established musical identifiers, Elfman will often incorporate original themes in addition to his own thematic material. Examples include [[Lalo Schifrin]]'s main theme and "The Plot" from the original [[Mission: Impossible (1966 TV series)|Mission Impossible TV Series]] for ''[[Mission: Impossible (film)|Mission: Impossible]]'';<ref name="Bond 2019 5-6"/> [[John Williams]]' theme for ''[[Superman (1978 film)|Superman]]'', the [[Hans Zimmer]]/[[Tom Holkenborg|Junkie XL]] theme for ''[[Wonder Woman (2017 film)|Wonder Woman]]'' and his own original ''Batman'' theme for ''[[Justice League (film)|Justice League]];<ref>{{cite news |last=Burton |first=Byron |date=November 18, 2017 |title=Danny Elfman Hates When Reboots Scrap Classic Themes |url=https://www.hollywoodreporter.com/heat-vision/justice-league-danny-elfman-hates-reboots-scrap-classic-themes-1059632 |work=[[The Hollywood Reporter]] |access-date=October 10, 2019 |quote=Elfman and Whedon previously worked together on 2015's Avengers: Age of Ultron, another situation he describes as another "three-alarm call." He shared scoring credits with Brian Tyler. }}</ref><ref>{{cite AV media|people=Danny Elfman|date=November 10, 2017|title=Justice League: Original Motion Picture Soundtrack|type=CD liner|url=https://www.watertower-music.com/releases/release.php?title=justiceleague|access-date=September 27, 2019|location=[[Burbank, California|Burbank]], CA|publisher=[[WaterTower Music]]|id=19075807271|archive-date=December 1, 2019|archive-url=https://web.archive.org/web/20191201105301/http://watertower-music.com/releases/release.php?title=justiceleague|url-status=dead}}</ref>'' the "Welcome Christmas" song from the 1966 [[How the Grinch Stole Christmas! (TV special)|''How the Grinch Stole Christmas!'']] for [[The Grinch (film)|''The Grinch'']];<ref name="Lenker"/> and "Casey Junior," "Pink Elephants on Parade," and "When I See an Elephant Fly" from Disney's original 1941 [[Dumbo|animated film]] for ''[[Dumbo (2019 film)|Dumbo]]''.<ref name="burlingame2019"/>

The songs for ''The Nightmare Before Christmas'' and ''Corpse Bride'' were influenced by [[Kurt Weill]], [[Gilbert and Sullivan]] and early [[Rodgers and Hammerstein]].<ref>{{Cite magazine|url=https://time.com/4535789/danny-elfman-nightmare-before-christmas-live/|title=Danny Elfman on How ''Nightmare Before Christmas'' Endured|last=Berman|first=Eliza|date=October 26, 2016|magazine=[[Time (magazine)|Time]]|access-date=October 26, 2017}}</ref> At the request of Tim Burton, ''Charlie and the Chocolate Factory'' songs drew inspiration from [[Bollywood]], [[the Mamas and the Papas]], [[ABBA]], and [[Earth, Wind & Fire]] individually.<ref>{{Cite web|url=http://u.sbsun.com/Stories/0,1413,216~24281~2965262,00.html|title=Elfman goes (chocolate-covered) nuts|last=Lowman|first=Rob|year=2005|website=San Bernardino Sun|url-status=dead|archive-url=https://web.archive.org/web/20060819181642/http://u.sbsun.com/Stories/0,1413,216%7E24281%7E2965262,00.html|archive-date=August 19, 2006|access-date=October 26, 2019}}</ref>

Elfman's work in pop music and specifically as songwriter for [[Oingo Boingo]] was influenced by [[the Specials]], [[Madness (band)|Madness]], [[the Selecter]], [[Devo]], [[Fun Boy Three]], and [[XTC]].<ref name="denman2015" /><ref>{{cite tweet|user=dannyelfman|first=Danny|last=Elfman|author-link=Danny Elfman|number=1146254698976075781|date=July 2, 2019|title=Andy Partridge was a huge influence. It was that first year of getting back to the radio after a decade long moratorium, and the music of XTC, The Specials, Selector, Madness, Fun Boy Three and Devo that turned me around.}}</ref>