Originally released March 14, 2013. This was Omni’s first film score title. Only 100 copies were sold before Fox inexplicably demanded that Omni halt online sales.

Here’s the whole story:

I started the company while still working at the music library at Universal Studios. Our team did the music preparation for many composers, including Danny Elfman. It occurred to me that the scores we kept in filing cabinets were in demand. We would get visitors from film schools periodically, and their enthusiasm for film scores matched mine. I talked to Danny about this at one of the recording sessions I attended. This was probably around 2011-2012. I asked him first about Batman and if he’d like me to engrave it on the computer. He said the manuscripts didn’t exist. I told him they do, and I could probably get them for him, to which he jokingly replied, “Oh, you can, can you?” I took this as a challenge, and with the help of Steve Bartek, I could exhume them from WB’s deep storage in Kansas, of all places. I engraved it and gave a copy of it to him sometime later. A lightbulb turned on…I should engrave a complete score, show it to Danny, and see if he’d be okay with me publishing it; proof of concept, as it were. After I engraved it, I had it bound with a professionally produced cover, precisely as if I were publishing it. I wrapped it up as a gift and presented it at the end of another recording session (I was a librarian on the stage). I believe it was Oz, the Great and Powerful. He opened it, and his eyes lit up. “Where did you get this?” He asked. I told him: “I made this for you, Danny. I engraved it from the handwritten manuscript.” He exclaimed, “You did this…YOU…did this?” He couldn’t believe his eyes. He gave me a huge hug and proceeded to show everyone who was standing around. Needless to say, he was thrilled to see his music in a book. I sent a copy to Hal Leonard to show them my intentions, and they granted Omni a license for 100 copies since they control the print rights to that title. I figured I’d sell 20, maybe 25 copies. I emailed everyone I knew in town, informing them I was about to release Edward Scissorhands from my then-unknown company just so people would know it was a legit purchase. I was surprised that I sold more than I expected. For whatever reason (and I have my suspicions), a Fox music exec called me shortly after the release and demanded to know where I acquired permission. I explained I went through the proper channels, but that wasn’t enough to satisfy them, and Hal Leonard denied my request for a 2nd print run. And so, for ten years or so, I politely answered people’s curious emails about what happened to this popular title. When Disney Studios bought out Fox in 2017, the copyright ownership transferred. Shortly after I developed a relationship with their music department, releasing Tangled, I inquired about a license for Edward Scissorhands. And now, finally, this masterpiece is available again for purchase, just as it should be.

Happy 30th, Edward!
Elfman was literally rewriting the rules of cinematic composition with each new score. Despite the naysayers, Danny kept producing one hit after another with such titles as Pee Wee’s Big Adventure Beetlejuice and Batman. When it came time to write the score for Edward Scissorhands, the composer was in the dark; there was no template for the type of story Tim Burton was telling, no standard way of expressing such a visual tale through music. Eventually, Elfman combined elements of Herrmann, Tchaikovsky, and the commercial music of the 60s.

222 pages, 9X12 inches. Paperbound, printed in U.S.A

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