It was kind of nobody knew what to do and that score stood out.

I was offered every quirky comedy made in Hollywood. Yeah. For the next five years, it was like, oh my god, I'm the comedy guy. They were getting the vibe of what you were putting out. That is so cool. Hearing that nothing makes me happier in my life. I knew when I was writing it, my 10-year-old daughter was hearing every song and approving it. And as I did it.

You've been right more than you've been wrong.

There's something sort of beautiful about that.

You're gonna make me cry.

But why?

Because.

So here we are.

It's my dear pal Danny Elpin.

Danny, thank you so much.

Oh, thanks for having me.

Oingo, boyingo. More a hundred films, notably milk, good will hunting big fish,

men in black, dr. Strange Dumbo, the Grinch Oz, the great and powerful Pee Wee's Big Adventure,

Spider-Man Mars Attacks Corp Sprite, Alison Wunderland, Batman, and Batman Returns, Edward Siserhands,

nightmare before Christmas. Of course, the original Beetlejuice and the new new Beetlejuice, which is called Beetlejuice Beetlejuice. I think so. Yeah. That's a lot. It's been, yeah. Tell me about it. So. And I also, in that time, created four scripts and three musicals. I did not know that. Nobody does. No, but I did my research.

And I didn't know that that's not all.

Have any of the scripts come to fruition?

No, no. I just... I always think with your, I don't know, I use the word leverage, but your position here in Dear Hollywood. I, I'm just a composer, you know? I don't believe that, but. You certainly surpassed the title of the composer.

But I'm curious about that.

So take me through that because obviously,

you know, a lot of people and you know who to talk to. Why have they not made any of movies that you wouldn't? Well, first off, you'd be surprised how few people I know. Really? I've lived most of my life as a recluse. And even within Hollywood, people don't understand this about composers in Hollywood. My entire infrastructure on a film from beginning to end could be nothing more than me, one editor and the director. And those might be the only people I meet. And then maybe if I go to a premiere, oh, there's the producer. Hello, how are you? And and other people have been the studio. I am as unconnected as can be. And I've never been good at the networking part of it. See, I have that in my note. I'm jumping ahead, but I'm curious because I have done a few major motion pictures and the amount of people in my ear drove me insane. The term that comes to mind is cooks in the kitchen. There was so many cooks in the kitchen. So how have you avoided the cooks in the kitchen? Well normally, I mean every film is different dynamic. So most films I'm only allowed to listen to the director and so the director comes over every week and there's a relationship and there might be one presentation for producers or other people but then I never see them again. There are other projects where the producer becomes the voice. The studio might step in because there's problems with the picture and then they start interjecting points of view. But it's very rare. If I've done 110 films, probably 90 to 100 of them, I've only interfaced with the director and or the director and editor. Because I had the complete opposite experience. Maybe it was because they consider being obvious or something. Yeah. But like I said, you know, also the films all have their own dynamic.

Yeah. I've worked on a film where literally I was told not to speak with the director. I'm now taking notes from the producer or from the studio. So things can shift, the dynamics can change, but I am is unconnected. I mean, I swear to God, this is true. So I'll go to an after show, I'll go to Premiere, there'll be an after show party, and more

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