Big Eyes: Music from the Original Motion Picture

Background

Danny Elfman, a frequent collaborator of Burton, produced the music for Big Eyes. At a roundtable conversation of film composers, Elfman recalled that Burton did not want a grand score like those of his previous films, as he wished to avoid exploring the fantasy side through the film; consequently, Elfman assembled a smaller orchestra. At times, Elfman analyzed Burton's state of mind, feeling that being pensive was sufficient approval. The film included two original songs written and performed by Lana Del Rey: the title track and "I Can Fly".

Larry Karaszewski, one of the film's writers and producers, said that Rey liked the film after watching a preview shown by Burton, and opined that her song expresses the character Margaret's feelings perfectly, like a soliloquy of her inner thoughts. Initially, the title track was intended for the closing credits, but the editing team found two scenes without dialogue, and Karaszewski, who considered it a centerpiece number, edited the orchestrated piece from Elfman and placed the song there.

The song plays as an instrumental during a sequence where Margaret sees her paintings being sold in a supermarket, then becomes a vocal piece with grand instrumentation showing her determination to develop a new painting style. "I Can Fly" plays during the end credits. Lyrical videos for both songs were released on December 2, 2014, and both were released in audio formats with the soundtrack on December 23, 2014, through Interscope Records. The album also includes performances from the cast, instrumental pieces from Miles Davis, Sonny Rollins, Cal Tjader, Red Garland, and the Lively Ones, while Elfman's score accompanies the remainder.

Reception

A review from Filmtracks.com summarized the score as decent, with its suite arrangements on the commercial product recommended for all but Elfman completists. Chuck Campbell of Knoxville News Sentinel wrote that the classic songs could make great cocktail party music, the Del Rey tracks reveal a new side to the performer, and the Elfman material is ambient. Justin Chang of Variety noted that Elfman's churning score propelled the film's tonal shifts between comedy and drama. A. O. Scott of The New York Times described it as hysterical. Ryan Lattanzio of IndieWire was critical, calling it one of Elfman's laziest scores ever, and said it never stops.