Anthony D’Alessandro is Managing Editor of AwardsLine.
After composing five film scores straight, without a weekend off, it’s fair to say that Danny Elfman has had a very long year. Still, there was no limit to what he would do to work on a film about his idol, Alfred Hitchcock.
“I don’t know how I’m going to do this, but I have to do this,” Elfman recalls about committing to Fox Searchlight’s Hitchcock, which was scheduled for delivery right before his opus on Disney’s Oz: The Great And Powerful. “I wouldn’t have a film-music career if it wasn’t for Bernard Herrmann, who has inspired me since the age of 12.”
It would be an understatement to say that Elfman is a big fan of the Master of Suspense and his longtime music collaborator. Never mind the large photograph of Hitch that hangs in Elfman’s office (as observed by Hitchcock helmer Sacha Gervasi), Elfman is the only composer who has handled the sacred scrolls: Herrmann’s original manuscript for Psycho, which Elfman deftly adapted for Gus Van Sant’s 1998 remake. For his current project, Elfman was so stoked to visit the Hitchcock set where they were shooting the Psycho editing-bay scene with Anthony Hopkins (as Hitch) and Helen Mirren (as his wife, Alma) that he asked if he could come back for a second day.