This week on Film Score Friday, we listen to the score from The Lion, the Witch, and the Wardrobe. This 2005 score was written by Harry Gregson-Williams. Gregson-Williams created a score that was just right for the expansive universe portrayed in the film. His best moments come when he trades motives among different parts of the brass section. This one is a true delight. Enjoy!
Film Score Friday: King King (1976)
This week on Film Score Friday we listen to the score from King Kong. John Barry wrote the score for this 1976 remake. If you close your eyes during this score you might think James Bond will appear soon. There's definitely more than a little resemblance to the Bond scores Barry wrote. Despite this, Barry made a credible entry in the Kong franchise here. The low Brass section gets the most action here. As you might guess, they often serve as a musical queue for the presence of the giant gorilla. Who would have thought? Enjoy!
Mentioned in this Post
Film Score Friday: The Sons of Katie Elder
This week on Film Score Friday, we listen to the score from The Sons on Katie Elder. Elmer Bernstein wrote the score for this 1965 western. Those familiar with Benstein's work with westerns will feel right at home here. The Horns have plenty of time to shine with the triumphant main theme. Enjoy!
Mentioned in this Post
Film Score Friday: Gladiator
This week on Film Score Friday, we listen to the score from Gladiator. Hans Zimmer wrote the score for this 2000 film. If you think this score sounds a lot like Holts' The Planets (Mars in particular) then you're in agreement with the Holst Foundation which sued Zimmer over this score. The suit was dismissed, but the resemblance is definitely there. Despite that, this is a really great score. The entire score is a delight for everyone in the brass. One moment stands out to us in particular. Maurice Murphy has the opportunity for an amazing Trumpet solo about halfway through the film. He nails it and it is one of our all time favorite Trumpet solos in a film.
Enjoy!
Film Score Friday: Star Trek: The Motion Picture
This week on Film Score Friday we listen to the score from Star Trek: The Motion Picture. Jerry Goldsmith wrote the score for this 1979 movie debut for the franchise. Goldsmith has the difficult task of being the first to ask: What does a Star Trek movie score sound like? We now has expectations after so many films, but this was a non-trivial task for Goldsmith especially given the timing so soon after Star Wars. Goldsmith rises to the occasion by creating themes that have been kept in the franchise for decades now. The highlight for us is the theme Goldsmith created for when we see the Enterprise for the first time. It's a big moment accompanied by equally big music. Enjoy!
Film Score Friday: Rogue One: A Star Wars Story
This week on Film Score Friday, we listen to the score from Rogue One: A Star Wars Story. Michael Giacchino wrote the score for this latest entrant to the Star Wars saga. Giacchino had the difficult job of following the iconic scores John Williams created for this franchise. He rises to the occasion here with some great work. Giacchino captures just the right feel and integrates many of the themes we all know so well. It's not just rescoring of the Williams work, though. He manages to make much of the score his own. Enjoy!
Film Score Friday: Once Upon a Time in the West
This week on Film Score Friday we listen to the score from Once Upon a Time in the West. Ennio Morricone wrote the score for this 1968 western. This film's score is often remembered for the amount of harmonica and ostinato. There's some overlooked Brass success here. In particular, Morricone uses unison Trumpets in the third act of the film to great effect. He also creates some wonderful Horn solos as well.
Mentioned in this Post
Film Score Friday: Planet of the Apes (2001)
This week of Film Score Friday, we listen to the score from Planet of the Apes. Danny Elfman wrote the score for this 2001 remake. Elfman does a great job with creating a sound that really feels like the wilderness. The highlight are when Elfman scores just Brass and Percussion. These are great sequences. The score beyond just the tribal themes. There's some really great lyrical sections with some good Brass solos as well. Enjoy!
Film Score Friday: Spectre
This week on Film Score Friday we listen to the score from Spectre. Thomas Newman wrote the score for the 2015 entry in the James Bond franchise. Newman strikes a good balance between breaking new ground while still paying tribute to the classic themes of this franchise. One of the tropes of Bond score over the years was keeping the Brass in the high range. Newman does a great job of having the section use the entire range. Don't worry, he still gets the screaming stuff in there too.
One sad note about the score is the lack of Derek Watkins on Trumpet. Watkins played on every Bond score up until Spectre. Watkins passed away before this score was recorded. He inspired many throughout the years with his amazing work on this series as well as so many other recordings.
Mentioned in this Post
Film Score Friday: Nightbreed
This week on Film Score Friday, we listen to the score from Nightbreed. Danny Elfman wrote the score for this 1990 horror movie. This came out around the same time Elfman scored Batman. The similarities are striking and welcome. Elfman hits just the right themes for this overlooked horror film. Enjoy and Happy Halloween!
Mentioned in this Post
Film Score Friday: Lost in Space
This week on Film Score Friday, we listen to the score from Lost in Space. Bruce Broughton wrote the score for this 1998 remake of the classic show. Broughton his usual A game to this score. The most enjoyable thing Broughton does here is with range. He makes sure the whole Brass section is getting around the entire range of their horns. It's a nice change up from the multitude of score that insist on inhabiting one portion of the instrument range the entire time. Enjoy!
Mentioned in this Post
Film Score Friday: The Great Train Robbery
This week on Film Score Friday, we listen to the score from The Great Train Robbery. Jerry Goldsmith wrote the score for this 1979 caper film. There was a period of years in the 1970s when despair was a consistent theme in movies. The music often matched this theme. In a sea of gloom, this film and its music was a welcome return to fun and whimsy. Goldsmith wrote a fun score here. It's not remembered as well as many of his other works, but it's worth of your time. Enjoy!
Mentioned in this Post
The Great Train Robbery on Amazon
The Great Train Robbery on iTunes
Film Score Friday: The Da Vinci Code
This week on Film Score Friday, we listen to the score from The Da Vinci Code. Hans Zimmer wrote the score for this 2006 film. This score resembles some of Zimmer's other work from this period like Batman Begins. That's a good thing. The main attraction here is what Zimmer does with Horn. There's some great moments when Horn is paired with the choir that are great. Enjoy!
Mentioned in this Post
Film Score Friday: Stargate
This week on Film Score Friday, we listen to the score from Stargate. David Arnold wrote the score for this 1994 film. This is a little know gem from this period of film scores. Arnold was working retail at the time the producers of Stargate asked him him to write this score. We're glad he did. He had written music one other film, but hardly a blockbuster of this magnitude.
The original recording was made in London and is a pleasure. Arnold embraces the summer blockbuster feel and made the score bombastic and grandiose enough to match what was on the screen. Despite this, he manages to work some elements of subtlety in. Much of the movie takes place in a desert setting and you can hear the influence of past films like Lawrence of Arabia. In other parts, Arnold gives the low brass free reign to hammer home the dramatic moments and it feels great. Enjoy!
Mentioned in this Post
Film Score Friday: The Gauntlet
This week on Film Score Friday, we listen to the score from The Gauntlet. Jerry Fielding wrote the music from this 1977 film. This film debuted at a time when Jazz was considered by many to be past its prime. Given that context, we're glad the film kept its swing heavy music. This score uses big band throughout and it fits with the Clint Eastwood movie's feel. A young Jon Faddis is the real highlight. Faddis has opportunities to solo from the very beginning with his take on "Just a Closer Walk with thee." He maintains prominence throughout the recording and it's great. Enjoy!
Mentioned in this Post
Film Score Friday: Young Sherlock Holmes
This week on Film Score Friday, we listen to the score from Young Sherlock Holmes. Bruce Broughton wrote the score for this 1985 take on the classic detective. It was a popular trope in the 80s to take a well established character and create story about their origin or "young" years. Very few of these were good and this installment was average at best. Broughton's score is great and lifts the film to a higher level than it would achieve on its own. Broughton's usual approach of making playful and fun music is at home here. The adventurous themes he uses fit with the material well.
Enjoy!
Mentioned in this Post
Film Score Friday: Zulu
This week on Film Score Friday, we listen to the score from Zulu. John Barry wrote the score for this 1964 film. This is film about British soldiers that Barry makes sound very British. He uses Horn and Low Brass to emphasize a stately motive that returns again and again throughout the score. This is executed in a good way. If you listen closely, you'll also hear some themes Barry would go on to mirror in his later works. Enjoy!
Mentioned in this Post
Film Score Friday: Apollo 13
This week on Film Score Friday, we listen to the score from Apollo 13. James Horner wrote the score for this 1995 space disaster film. Horner wrote this score during one his more prolific periods. He had several major score debut around the same time as this one. Despite this, Apollo 13 is still one of his best works. There are several times when Horner uses a brass choir feel to evoke a feeling of reverence. This goal achieved and really pairs well with the on screen mood.
In many ways, the film pays tribute to American ingenuity and perseverance. Along with this theme, Horner places some subtle patriotic themes throughout. This is most apparent when he uses a Trumpet solo with a thinly scored orchestra. The always great Tim Morrison plays an amazing solo that evokes the emptiness and endlessness of space. Horner draws sharp contrasts with this feeling in other parts of the score with themes that evoke the claustrophobic sense of being trapped in a tiny space capsule.
The inclusion of some period pop music meant that Horner did not create as much material as does for most of this works. The opportunities he's given are not wasted here. This is a truly wonderful score for a wonderful film.
Mentioned in this Post
Film Score Friday: 1941
This week on Film Score Friday, we listen to the score from 1941. John Williams wrote the score for this 1979 comedy. We often associate the music of Williams with the biggest of box office blockbusters like Star Wars. This film had Steven Spielberg attached with some well know stars, but was a failure at the box office. Consequently, it's a lesser know score from Williams. The main theme march is the highlight here. It takes on a quality more similar to the style of Elmer Bernstein at times than that of Williams. It's playful in the same style the film attempts to achieve, but fails to match the quality of the score.
Despite this, it's a hidden gem from Williams' catalog. Enjoy!
Mentioned in this Post
Film Score Friday: Godzilla
This week on Film Score Friday, we listen to the score from Godzilla. David Arnold wrote the score for this 1998 monster movie. This movie is really terrible. Seriously, don't watch it. Also, there's a lot of 90s pop music thrown into the movie. Beyond all that, David Arnold wrote some fun music for this movie. It's very over the top, but then again that is what this occasion was here. Enjoy!
Mentioned in this Post