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A former leader of Music/OingoBoingo with his brother Rick, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton, to the point [[AssociatedComposer the two are often mentioned in the same breath]], and for a longtime friend Creator/SamRaimi), composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
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A former leader of Music/OingoBoingo with his brother Rick, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most Hollywood, most famously for Creator/TimBurton, to the point [[AssociatedComposer the two are often mentioned in the same breath]], and for a longtime friend Creator/SamRaimi), Creator/SamRaimi, composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
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Daniel Robert Elfman (born May 29, 1953 in Los Angeles, California) is an American composer and singer..
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Daniel Robert Elfman (born May 29, 1953 in Los Angeles, California) is an American composer and singer..singer.
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* ''Literature/WhiteNoise''
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* ''Literature/WhiteNoise''''Film/{{White Noise|2022}}''
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** ''[[WesternAnimation/{{Nine}} 9]]'' - Burton produced but did not direct; Elfman did the themes for this one, but not the score itself.
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** ''[[WesternAnimation/{{Nine}} 9]]'' - Burton produced but did not direct; Elfman did the themes for this one, but not the score itself.itself (Deborah Lurie wrote the score).
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* ''Film/SpiderMan1'' and ''Film/SpiderMan2'' (Christopher Young scored [[Film/SpiderMan3 the third film]] using Elfman's themes -- along with [[RecycledSoundtrack Elfman cues from the first two]] and assistance from Music/JohnDebney and Deborah Lurie)
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* ''Film/SpiderMan1'' and ''Film/SpiderMan2'' (Christopher Young (Music/ChristopherYoung scored [[Film/SpiderMan3 the third film]] using Elfman's themes -- along with [[RecycledSoundtrack Elfman cues from the first two]] and assistance from Music/JohnDebney and Deborah Lurie)
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** The second is later in the film after Frenchy gets kidnapped by the Sixth Dimension's rulers, [[TheChewToy Squeezit]] goes down to rescue them, and is greeted (well, kidnapped) by Satan performing a lyrically modified and key-changed version of Minnie the Moocher named "[[https://www.youtube.com/watch?v=WACN2cdr4wc Squeezit the Moocher]]".
to:
** The second is later in the film after Frenchy gets kidnapped by the Sixth Dimension's rulers, [[TheChewToy Squeezit]] goes down to rescue them, and is greeted (well, kidnapped) by Satan performing a lyrically modified and key-changed [[{{Scales}} key]]-changed version of Minnie the Moocher named "[[https://www.youtube.com/watch?v=WACN2cdr4wc Squeezit the Moocher]]".
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* TheCameo: While he didn't score ''Film/{{The Gift|2000}}'' (rather, Music/ChristopherYoung did), you can spot Danny as [[https://www.youtube.com/watch?v=MToIW6DgOe0 a fiddler in a dream sequence.]]
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Like Music/JohnWilliams, Elfman tends to compose classical, Romantically-themed music reminiscent of Music/BernardHerrmann, although Elfman makes more limited use of {{Leitmotif}} and his music tends to have darker overtones -- which seem to mesh well with Tim Burton's films, although he also has a penchant for Duke Ellington-style Jazz. Again like John Williams, Elfman is one of the few major Hollywood film composers who has never had a score thrown-out (the closest being his score for ''Spider-Man 2'' being extensively rewritten and altered without his permission).
to:
Like Music/JohnWilliams, Elfman tends to compose classical, Romantically-themed music reminiscent of Music/BernardHerrmann, although Elfman makes more limited use of {{Leitmotif}} and his music tends to have [[DarkCabaret darker overtones overtones]] -- which seem to mesh well with Tim Burton's films, although he also has a penchant for Duke Ellington-style Jazz. Again like John Williams, Elfman is one of the few major Hollywood film composers who has never had a score thrown-out (the closest being his score for ''Spider-Man 2'' being extensively rewritten and altered without his permission).
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* ''Film/HotToTrot'' (1988)
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* ''Big Top Pee-wee'' (1988 - without Burton, and with different themes, because it was produced by Creator/{{Paramount}} instead of Creator/WarnerBros.)
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* ''Big Top Pee-wee'' ''Film/BigTopPeeWee'' (1988 - without Burton, and with different themes, because it was produced by Creator/{{Paramount}} instead of Creator/WarnerBros.)
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* AssociatedComposer: For Creator/TimBurton, Creator/SamRaimi, Creator/GusVanSant, and Creator/Barry Sonnenfeld.
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* AssociatedComposer: For Creator/TimBurton, Creator/SamRaimi, Creator/GusVanSant, and Creator/Barry Sonnenfeld.Creator/BarrySonnenfeld.
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Crosswicking.
Added DiffLines:
!!Tropes associated with this composer:
* AssociatedComposer: For Creator/TimBurton, Creator/SamRaimi, Creator/GusVanSant, and Creator/Barry Sonnenfeld.
* CreepyChildrenSinging: Easily half of his soundtrack commissions for Creator/TimBurton tend to have this in the background somewhere.
* CreepyCircusMusic:
** [[https://www.youtube.com/watch?v=HGNbE-1quX0 "Waltz to the Death"]], ComicBook/TheJoker's {{Leitmotif}} in Creator/TimBurton's ''Film/Batman1989''. The theme actually sounds more like something from the 19th century (think Tchaikovsky's ''Nutcracker Suite''), but it's played on rather loud horns that remind one of a circus band; and while it's not very creepy in itself, the two scenes during which it's played certainly are (the Joker gleefully shooting a man several times and the Joker forcing the film's DamselInDistress to dance with him - at gunpoint - atop Gotham City's cathedral).
** In the sequel ''Film/BatmanReturns'', given the presence of the Red Triangle Gang, a malevolent group of criminals that were formerly a [[InvasionOfTheBabySnatchers children-stealing]] CircusOfFear, Elfman implemented a creepy circus vibe and ominous organ grinder music whenever they appear, as observable in "[[https://youtu.be/gB7bBm-LvqU Shadow Of Doom/Clown Attack]]", "[[https://youtu.be/ge7RWZ-8S6o?t=43 Lair (Part 1)]]" and "[[https://youtu.be/Oz8aLIECqqM?t=37 The Rise And Fall From Grace (Part 1)]]".
** [[https://www.youtube.com/watch?v=dYDh0M3ueO0 "Carnival From Hell"]] from Creator/SamRaimi's ''Film/{{Darkman}}'' starts off like normal carnival music, but an underlying note of tension keeps building up until it takes over turning the music into a tune of pure chaos and menace when the protagonist loses his patience with a carnival worker who doesn't want to give him a game prize. While the pay off is played for laughs, this track remains eerie to listen to.
* CreepyJazzMusic: His first composing role ''Film/ForbiddenZone'' has two big moments, both {{Shout Out}}s to the films of Creator/MaxAndDaveFleischer which also employed this method.
** The first is "Behind Them Doors (Some of These Days) an aggressive number when Frenchy and Hercules' [[JustAStupidAccent apparently Norwegian]] father warns them not to go through the doors that lead to the titular Zone (for bonus points, he lip-syncs to a Calloway song partway through), that also establishes how bonkers the Zone is by way of a brief stop-motion transition.
** The second is later in the film after Frenchy gets kidnapped by the Sixth Dimension's rulers, [[TheChewToy Squeezit]] goes down to rescue them, and is greeted (well, kidnapped) by Satan performing a lyrically modified and key-changed version of Minnie the Moocher named "[[https://www.youtube.com/watch?v=WACN2cdr4wc Squeezit the Moocher]]".
* CultSoundtrack: Many of his soundtracks for Creator/TimBurton's films have extensive cult followings.
* DarkReprise: Several examples from Creator/TimBurton's two ''Film/BatmanFilmSeries'' films:
** ''Film/Batman1989''
*** The film has what could more properly called a "Darker/Sarcastic Reprise," we have Music/DannyElfman's "Waltz to the Death." This is played as [[Characters/BatmanTheJoker The Joker]], having first revealed his clown-face to the audience, murders his former boss by [[ThereIsNoKillLikeOverkill shooting the old man six times from various angles]]. Here the music is more darkly funny than scary, though it does segue into a creepy lullaby tune played on chimes at the end of the scene. Much later, toward the end of the movie, "Waltz to the Death" is heard again as Batman stalks the Joker in the cathedral belltower, only to be ambushed by his gang while the Joker forces Vicki Vale at gunpoint to dance a waltz with him. Now the tune is less brassy than before, with a weird dreamlike quality that ''would'' be a Light Reprise if it weren't so out of character for the Joker (it's really disturbing to see a man who had previously murdered a young boy's parents while taunting in a demonic voice being portrayed as a romantic gentleman, albeit a villainous one) and if it didn't abruptly fall off toward the end into [[NothingIsScarier almost total silence]]. Even before then, the howls of rage and pain as the Joker's {{Mooks}} and Batman beat the tar out of each other [[SoundtrackDissonance do a great deal to undercut the supposedly light mood of the piece]].
*** Inverted on the movie's pop soundtrack by Music/{{Prince}}. "Batdance," his dance mix at the end of the album, takes some of the darker songs that have gone before ("The Future" most notably) and parodies them by remixing them in a goofy "deejay" style.
** There's a more straightforward example in ''Film/BatmanReturns''. During the "Lair" sequence, we hear a poignant, hopeful violin piece as The Penguin speaks of returning to the world above and once again being accepted as a human being. After he has been rejected once again and vowed to kill all the children of Gotham City, the Penguin's theme is heard once more...this time (once again) in "chimey, creepy lullaby" style as the Penguin plays with an umbrella from which have been hung [[SubvertedInnocence various toy animals]].
*** Another inversion occurs with "Selina Transforms." When we hear it the first time, the piece ''starts out'' tragic and just goes downhill from there, mounting to what sounds like a [[Creator/AlfredHitchcock Hitchcock]] movie score on acid as Selina Kyle loses her mind. "Selina Transforms" is then heard again at the end of the movie, but now it is LighterAndSofter, [[AlasPoorVillain an elegy of sorts now that Catwoman is apparently dead]].
*** "The Finale" soundtrack in ''Returns'' can be considered a Dark Reprise to the first film's "The Finale." Both scores end with church bells being rung three times before segueing into Batman's main theme, but while in the first film, they're being rung in a triumphant tone, in keeping with the second film's BittersweetEnding, the bells are being rung in a slower, more somber mood.
* DeafComposer: After years of playing loud rock music in front of huge speakers, he and a few other members of Music/OingoBoingo began to develop irreversible hearing loss and would have gone stone deaf had the band stayed together any longer, which is why in 2007, he formally announced that the band would never reunite.
* DeathlyDiesIrae:
** In ''Film/Batman1989'', a fast-paced repeating ''dies irae, dies illa'' makes up much of the backing of the track "Descent in Mystery," which plays as Batman drives Vicki through the dark woods and into the hidden Batcave, creating an unsettling atmosphere around the location.
** In ''Film/BatmanReturns'', the four notes make several appearances during the Red Triangle Gang's introductory attack, most prominently as a fire-breathing member in a devil costume torches a department store. It later appears when Selina is driving towards the tree-lighting ceremony to assist in the abduction [[spoiler:and eventual murder]] of the Ice Princess, [[spoiler:though she wasn't aware Penguin intended to kill her]].
** [[https://youtu.be/XZH5r2qP9OQ The main theme]] for the aborted Film/DarkUniverse franchise incorporates several ''dies irae''s in the background.
* ForDoomTheBellTolls: A single bell chimes six times in ''Film/EdwardScissorhands'' when [[spoiler:Jim falls to his death after being stabbed by Edward]].
* LastNoteNightmare: The Geffen logo at the beginning of ''Film/{{Beetlejuice}}'' features an upbeat but somewhat hollow chorus of "Day-O" that swings into a hauntingly creepy minor key halfway through, just in time to introduce the main theme.
* TheMelBrooksNumber: The four Oompa-Loompa songs in the 2005 version of ''Film/CharlieAndTheChocolateFactory'' play out this way. Elfman assigns each one a different genre (mambo for Augustus Gloop, psychedelic FolkRock for Veruca Salt, etc.) and gives them terrific melodies and arrangements. The lyrics (pulled from the original novel) are still about naughty kids getting their comeuppance, though, and the "rather rehearsed" dance numbers the Oompa-Loompas — all voiced by Elfman — mount are parodies of Busby Berkeley numbers, heavy metal videos, etc.
* MusicalPastiche: ''Film/Batman1989'' has a snippet of "Scandalous" by Music/{{Prince}} worked into Elfman's otherwise somber score. Not that the song isn't fairly somber in its own way, especially when used in the film.
* PerkyGoth: The red hair contrasts with the Goth image, but the SlasherSmile and cheerfully upbeat songs like "No One Lives Forever" certainly doesn't. There's a reason he's Creator/TimBurton's go-to guy for soundtracks and [[WesternAnimation/TheNightmareBeforeChristmas Jack Skellington]]'s singing voice.
* PsychoticSmirk: Both [[http://www.arkivmusic.com/graphics/portraits/3425 young]] and [[https://thenypost.files.wordpress.com/2015/07/84356370.jpg?quality=90&strip=all&w=618&h=410&crop=1 old]]. He also likes combining it with a KubrickStare.
* RearrangeTheSong: The track "Salvation" from ''Film/TerminatorSalvation'' is a new arrangement of the original ''Franchise/{{Terminator}}'' theme by Music/BradFiedel.
* RecycledTrailerMusic:
** If you're advertising a buddy movie, the [[https://www.youtube.com/watch?v=xCVFEvVYdwk theme]] to ''Film/MidnightRun'' is typically the go-to choice.
** The trailers for ''Film/TinkerTailorSoldierSpy'' made excellent use of Elfman's score from ''Film/TheWolfman2010''.
** The music from ''Film/EdwardScissorhands'' is a frequent offender. Elfman himself said, as part of a commentary track for the DVD, that every now and again his friends will call up and say "Edward's back!" when some trailer uses its music. The first one that did, specifically using the cue "The Grand Finale", was most likely 1993's ''The Secret Garden''. The score is also frequently imitated in ads for other companies - indeed, if ''any'' ad's BGM involves an slightly spooky CherubicChoir, it's probably an imitation of this score.
** The title music for ''Film/{{Beetlejuice}}'' is heard frequently in trailers for kid's movies.
* SlasherSmile: He practically made a living doing this in the '70s and '80s. There's hardly any Music/OingoBoingo music video (or film, for that matter) in which he doesn't spend a few seconds scaring the living crap out of the audience. Overly obnoxious talk show hosts occasionally got the silent treatment from him, combined with his trademark psychotic grin. The worst, or possibly the ''best'' example, has got to be the music video for "Little Girls", wherein the slasher smile goes on for the entire video and makes Danny look like he's in searing pain.
* ThemeMusicPowerUp: When watching ''Film/Batman1989'', the minute you hear any version of Elfman's classic Batman theme, there's gonna be some kicked ass. No questions asked. This applies to ''Film/BatmanReturns'' as well.
* AssociatedComposer: For Creator/TimBurton, Creator/SamRaimi, Creator/GusVanSant, and Creator/Barry Sonnenfeld.
* CreepyChildrenSinging: Easily half of his soundtrack commissions for Creator/TimBurton tend to have this in the background somewhere.
* CreepyCircusMusic:
** [[https://www.youtube.com/watch?v=HGNbE-1quX0 "Waltz to the Death"]], ComicBook/TheJoker's {{Leitmotif}} in Creator/TimBurton's ''Film/Batman1989''. The theme actually sounds more like something from the 19th century (think Tchaikovsky's ''Nutcracker Suite''), but it's played on rather loud horns that remind one of a circus band; and while it's not very creepy in itself, the two scenes during which it's played certainly are (the Joker gleefully shooting a man several times and the Joker forcing the film's DamselInDistress to dance with him - at gunpoint - atop Gotham City's cathedral).
** In the sequel ''Film/BatmanReturns'', given the presence of the Red Triangle Gang, a malevolent group of criminals that were formerly a [[InvasionOfTheBabySnatchers children-stealing]] CircusOfFear, Elfman implemented a creepy circus vibe and ominous organ grinder music whenever they appear, as observable in "[[https://youtu.be/gB7bBm-LvqU Shadow Of Doom/Clown Attack]]", "[[https://youtu.be/ge7RWZ-8S6o?t=43 Lair (Part 1)]]" and "[[https://youtu.be/Oz8aLIECqqM?t=37 The Rise And Fall From Grace (Part 1)]]".
** [[https://www.youtube.com/watch?v=dYDh0M3ueO0 "Carnival From Hell"]] from Creator/SamRaimi's ''Film/{{Darkman}}'' starts off like normal carnival music, but an underlying note of tension keeps building up until it takes over turning the music into a tune of pure chaos and menace when the protagonist loses his patience with a carnival worker who doesn't want to give him a game prize. While the pay off is played for laughs, this track remains eerie to listen to.
* CreepyJazzMusic: His first composing role ''Film/ForbiddenZone'' has two big moments, both {{Shout Out}}s to the films of Creator/MaxAndDaveFleischer which also employed this method.
** The first is "Behind Them Doors (Some of These Days) an aggressive number when Frenchy and Hercules' [[JustAStupidAccent apparently Norwegian]] father warns them not to go through the doors that lead to the titular Zone (for bonus points, he lip-syncs to a Calloway song partway through), that also establishes how bonkers the Zone is by way of a brief stop-motion transition.
** The second is later in the film after Frenchy gets kidnapped by the Sixth Dimension's rulers, [[TheChewToy Squeezit]] goes down to rescue them, and is greeted (well, kidnapped) by Satan performing a lyrically modified and key-changed version of Minnie the Moocher named "[[https://www.youtube.com/watch?v=WACN2cdr4wc Squeezit the Moocher]]".
* CultSoundtrack: Many of his soundtracks for Creator/TimBurton's films have extensive cult followings.
* DarkReprise: Several examples from Creator/TimBurton's two ''Film/BatmanFilmSeries'' films:
** ''Film/Batman1989''
*** The film has what could more properly called a "Darker/Sarcastic Reprise," we have Music/DannyElfman's "Waltz to the Death." This is played as [[Characters/BatmanTheJoker The Joker]], having first revealed his clown-face to the audience, murders his former boss by [[ThereIsNoKillLikeOverkill shooting the old man six times from various angles]]. Here the music is more darkly funny than scary, though it does segue into a creepy lullaby tune played on chimes at the end of the scene. Much later, toward the end of the movie, "Waltz to the Death" is heard again as Batman stalks the Joker in the cathedral belltower, only to be ambushed by his gang while the Joker forces Vicki Vale at gunpoint to dance a waltz with him. Now the tune is less brassy than before, with a weird dreamlike quality that ''would'' be a Light Reprise if it weren't so out of character for the Joker (it's really disturbing to see a man who had previously murdered a young boy's parents while taunting in a demonic voice being portrayed as a romantic gentleman, albeit a villainous one) and if it didn't abruptly fall off toward the end into [[NothingIsScarier almost total silence]]. Even before then, the howls of rage and pain as the Joker's {{Mooks}} and Batman beat the tar out of each other [[SoundtrackDissonance do a great deal to undercut the supposedly light mood of the piece]].
*** Inverted on the movie's pop soundtrack by Music/{{Prince}}. "Batdance," his dance mix at the end of the album, takes some of the darker songs that have gone before ("The Future" most notably) and parodies them by remixing them in a goofy "deejay" style.
** There's a more straightforward example in ''Film/BatmanReturns''. During the "Lair" sequence, we hear a poignant, hopeful violin piece as The Penguin speaks of returning to the world above and once again being accepted as a human being. After he has been rejected once again and vowed to kill all the children of Gotham City, the Penguin's theme is heard once more...this time (once again) in "chimey, creepy lullaby" style as the Penguin plays with an umbrella from which have been hung [[SubvertedInnocence various toy animals]].
*** Another inversion occurs with "Selina Transforms." When we hear it the first time, the piece ''starts out'' tragic and just goes downhill from there, mounting to what sounds like a [[Creator/AlfredHitchcock Hitchcock]] movie score on acid as Selina Kyle loses her mind. "Selina Transforms" is then heard again at the end of the movie, but now it is LighterAndSofter, [[AlasPoorVillain an elegy of sorts now that Catwoman is apparently dead]].
*** "The Finale" soundtrack in ''Returns'' can be considered a Dark Reprise to the first film's "The Finale." Both scores end with church bells being rung three times before segueing into Batman's main theme, but while in the first film, they're being rung in a triumphant tone, in keeping with the second film's BittersweetEnding, the bells are being rung in a slower, more somber mood.
* DeafComposer: After years of playing loud rock music in front of huge speakers, he and a few other members of Music/OingoBoingo began to develop irreversible hearing loss and would have gone stone deaf had the band stayed together any longer, which is why in 2007, he formally announced that the band would never reunite.
* DeathlyDiesIrae:
** In ''Film/Batman1989'', a fast-paced repeating ''dies irae, dies illa'' makes up much of the backing of the track "Descent in Mystery," which plays as Batman drives Vicki through the dark woods and into the hidden Batcave, creating an unsettling atmosphere around the location.
** In ''Film/BatmanReturns'', the four notes make several appearances during the Red Triangle Gang's introductory attack, most prominently as a fire-breathing member in a devil costume torches a department store. It later appears when Selina is driving towards the tree-lighting ceremony to assist in the abduction [[spoiler:and eventual murder]] of the Ice Princess, [[spoiler:though she wasn't aware Penguin intended to kill her]].
** [[https://youtu.be/XZH5r2qP9OQ The main theme]] for the aborted Film/DarkUniverse franchise incorporates several ''dies irae''s in the background.
* ForDoomTheBellTolls: A single bell chimes six times in ''Film/EdwardScissorhands'' when [[spoiler:Jim falls to his death after being stabbed by Edward]].
* LastNoteNightmare: The Geffen logo at the beginning of ''Film/{{Beetlejuice}}'' features an upbeat but somewhat hollow chorus of "Day-O" that swings into a hauntingly creepy minor key halfway through, just in time to introduce the main theme.
* TheMelBrooksNumber: The four Oompa-Loompa songs in the 2005 version of ''Film/CharlieAndTheChocolateFactory'' play out this way. Elfman assigns each one a different genre (mambo for Augustus Gloop, psychedelic FolkRock for Veruca Salt, etc.) and gives them terrific melodies and arrangements. The lyrics (pulled from the original novel) are still about naughty kids getting their comeuppance, though, and the "rather rehearsed" dance numbers the Oompa-Loompas — all voiced by Elfman — mount are parodies of Busby Berkeley numbers, heavy metal videos, etc.
* MusicalPastiche: ''Film/Batman1989'' has a snippet of "Scandalous" by Music/{{Prince}} worked into Elfman's otherwise somber score. Not that the song isn't fairly somber in its own way, especially when used in the film.
* PerkyGoth: The red hair contrasts with the Goth image, but the SlasherSmile and cheerfully upbeat songs like "No One Lives Forever" certainly doesn't. There's a reason he's Creator/TimBurton's go-to guy for soundtracks and [[WesternAnimation/TheNightmareBeforeChristmas Jack Skellington]]'s singing voice.
* PsychoticSmirk: Both [[http://www.arkivmusic.com/graphics/portraits/3425 young]] and [[https://thenypost.files.wordpress.com/2015/07/84356370.jpg?quality=90&strip=all&w=618&h=410&crop=1 old]]. He also likes combining it with a KubrickStare.
* RearrangeTheSong: The track "Salvation" from ''Film/TerminatorSalvation'' is a new arrangement of the original ''Franchise/{{Terminator}}'' theme by Music/BradFiedel.
* RecycledTrailerMusic:
** If you're advertising a buddy movie, the [[https://www.youtube.com/watch?v=xCVFEvVYdwk theme]] to ''Film/MidnightRun'' is typically the go-to choice.
** The trailers for ''Film/TinkerTailorSoldierSpy'' made excellent use of Elfman's score from ''Film/TheWolfman2010''.
** The music from ''Film/EdwardScissorhands'' is a frequent offender. Elfman himself said, as part of a commentary track for the DVD, that every now and again his friends will call up and say "Edward's back!" when some trailer uses its music. The first one that did, specifically using the cue "The Grand Finale", was most likely 1993's ''The Secret Garden''. The score is also frequently imitated in ads for other companies - indeed, if ''any'' ad's BGM involves an slightly spooky CherubicChoir, it's probably an imitation of this score.
** The title music for ''Film/{{Beetlejuice}}'' is heard frequently in trailers for kid's movies.
* SlasherSmile: He practically made a living doing this in the '70s and '80s. There's hardly any Music/OingoBoingo music video (or film, for that matter) in which he doesn't spend a few seconds scaring the living crap out of the audience. Overly obnoxious talk show hosts occasionally got the silent treatment from him, combined with his trademark psychotic grin. The worst, or possibly the ''best'' example, has got to be the music video for "Little Girls", wherein the slasher smile goes on for the entire video and makes Danny look like he's in searing pain.
* ThemeMusicPowerUp: When watching ''Film/Batman1989'', the minute you hear any version of Elfman's classic Batman theme, there's gonna be some kicked ass. No questions asked. This applies to ''Film/BatmanReturns'' as well.
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Changed line(s) 8,9 (click to see context) from:
A former leader of Music/OingoBoingo, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton, to the point [[AssociatedComposer the two are often mentioned in the same breath]], and for a longtime friend Creator/SamRaimi), composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
to:
A former leader of Music/OingoBoingo, Music/OingoBoingo with his brother Rick, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton, to the point [[AssociatedComposer the two are often mentioned in the same breath]], and for a longtime friend Creator/SamRaimi), composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
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Daniel Robert Elfman (born May 29, 1953) is an American composer and singer born in Los Angeles, California.
to:
Daniel Robert Elfman (born May 29, 1953) 1953 in Los Angeles, California) is an American composer and singer born in Los Angeles, California.singer..
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* ''WeirdScience'' (1985) (theme song only; but Elfman ''did'' score a film for Creator/JohnHughes, ''Flubber'')
to:
* ''WeirdScience'' (1985) (theme song only; but Elfman ''did'' score a film for Creator/JohnHughes, ''Flubber'')the Creator/JohnHughes-produced ''Film/{{Flubber}}'')
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* ''Literature/WhiteNoise''
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* ''WesternAnimation/{{Dilbert}}'' (adapted from his music for ''Film/ForbiddenZone'')
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* ''WesternAnimation/{{Dilbert}}'' (adapted (theme adapted from his music for ''Film/ForbiddenZone'')
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* ''Series/{{Wednesday}}''
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* ''Series/{{Wednesday}}''
''Series/{{Wednesday}}'' (with Chris Bacon)
* ''Series/WhenWeRise'' (with Chris Bacon)
* ''Series/WhenWeRise'' (with Chris Bacon)
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* ''Film/SixtyFive''
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[[caption-width-right:350:Not an actual elfman.]]
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[[caption-width-right:350:Not an actual elfman.elf, man.]]
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* ''Series/{{Wednesday}}''
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* ''Film/{{Goosebumps}}''
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* ''Film/{{Goosebumps}}''''Film/{{Goosebumps|2015}}''
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!!Works scored by Elfman include (but are certainly not limited to):
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!!Works scored done by Elfman include (but are certainly not limited to):
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[[AC:Studio Albums:]]
* ''Serenada Schizophrana'' (Classical Album) (2006)
* ''Eleven Eleven'' (Classical Album) (2019)
* ''Big Mess'' (First rock album of his since the disbanding of Oingo Boingo.) (2020)
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* ''Big Top Pee-wee'' (1988 - without Burton, and with different themes)
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* ''Big Top Pee-wee'' (1988 - without Burton, and with different themes)themes, because it was produced by Creator/{{Paramount}} instead of Creator/WarnerBros.)
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Moved
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* ''WesternAnimation/{{Epic}}'' (formerly ''Leafmen'')
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* ''WesternAnimation/{{Epic}}'' ''WesternAnimation/Epic2013'' (formerly ''Leafmen'')
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A former leader of Music/OingoBoingo, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton, to the point [[AssociatedComposer the two are often mentioned in the same breath]]), composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
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A former leader of Music/OingoBoingo, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton, to the point [[AssociatedComposer the two are often mentioned in the same breath]]), breath]], and for a longtime friend Creator/SamRaimi), composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
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* ''Film/{{Justice League|2017}}''
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* ''Film/{{Justice League|2017}}''League|2017}}'' [[note]]Replaced Music/JunkieXL, who was brought back for ''Film/ZackSnydersJusticeLeague''.[[/note]]
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A former leader of Music/OingoBoingo, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton), composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
to:
A former leader of Music/OingoBoingo, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton), Creator/TimBurton, to the point [[AssociatedComposer the two are often mentioned in the same breath]]), composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
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** ''Doctor Strange in the Multiverse of Madness''
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** ''Doctor Strange in the Multiverse of Madness''''Film/DoctorStrangeInTheMultiverseOfMadness''
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* Most of Tim Burton's films (exceptions are ''Film/EdWood'',''Film/SweeneyToddTheDemonBarberOfFleetStreet'' and ''Film/MissPeregrinesHomeForPeculiarChildren''):
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* Most of Tim Burton's films (exceptions are ''Film/EdWood'',''Film/SweeneyToddTheDemonBarberOfFleetStreet'' ''Film/EdWood'', ''Film/SweeneyToddTheDemonBarberOfFleetStreet'' and ''Film/MissPeregrinesHomeForPeculiarChildren''):
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* Franchise/MarvelCinematicUniverse:
** ''Film/AvengersAgeOfUltron'' (with Music/BrianTyler)
** ''Doctor Strange in the Multiverse of Madness''
** ''Film/AvengersAgeOfUltron'' (with Music/BrianTyler)
** ''Doctor Strange in the Multiverse of Madness''
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* ''Film/AvengersAgeOfUltron'' (with Music/BrianTyler)
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* ''Doctor Strange in the Multiverse of Madness''
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A former leader of Music/OingoBoingo, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton), composing scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
to:
A former leader of Music/OingoBoingo, he first broke into film scoring with ''Pee Wee's Big Adventure''. Since then, he has worked steadily in Hollywood (most famously for Creator/TimBurton), composing dozens of scores and themes for movies, TV, and even video games and a Creator/CirqueDuSoleil show (''IRIS'', a 2011 show inspired by the history of cinema).
