This week on Film Score Friday, we listen to the score from Total Recall. Jerry Goldsmith wrote the score for this 1990 film. Goldsmith described this as one of this better works. The ample material given to the low brass stands out for us. Enjoy!
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This week on Film Score Friday, we listen to the score from Pirates of the Caribbean: The Curse of the Black Pearl. Hans Zimmer and Klaus Badelt wrote the score for this 2003 film. Alan Silvestri was originally attached, but was replaced before production began.
This score has become one of Zimmer's best known works. This is with good reason. The score matches the film well. It also manages to be accessible to a general audience while still retaining some layers. Our favorite parts are when the Horns are allowed to run free with the melody. Enjoy!
This week on Film Score Friday, we listen to the score from The Poseidon Adventure. John Williams wrote the score for this 1972 disaster film. This was a film made during a period when disaster films were numerous. The score bears resemblance to a number of these. Despite this, you still get some great hints at what would become Williams' style in later years. In particular, you can hear the origins of Superman and some other later works here. Enjoy!
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This week on Film Score Friday we listen to the score from Jurassic Park. John Williams wrote the score for this 1993 film. This is one of Williams' best scores and for good reason. The highlight of the score for us is the when the main characters enter "the park" for the first time. The moment is grandiose, but made even more so with the addition of William's theme. Enjoy!
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!
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This week on Film Score Friday, we listen to the score from The Patriot. John Williams wrote the score for this 2000 film. Williams has done a masterful job in many of his works stirring the fires of patriotism. The Patriot has this same spirit. The film itself centers on the early days of the American Revolutionary War and the part of the fight that took place in South Carolina. Williams threads the needle by emulating the fife and drum elements consistent with the time while also using broad orchestral themes that mirror the gravity of the material.
One highlight of the score is a Trumpet solo from Tim Morrison. As always, he nails it. Williams also makes an opportunity for a Brass choir like segment that really hits the spot. There's familiar elements for a Williams score, but this is one of our favorites to listen to around Independence Day.
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This week on Film Score Friday, we listen to the score from Superman the Movie. John Williams wrote the score for this 1978 film. Jerry Goldsmith was originally scheduled to write this score, but dropped out due to a conflict and Williams stepped in. It's hard to understand the perspective this film had to contend with in the late 70s. We all live in a world where comic book characters are in a new movie just about every month. This was a untested idea. Williams score was put together relatively late in the game. This allowed him to have some awareness around the tone the film was taking. This proved wildly successful with a great score.
The music from this film has become an iconic score for good reason. The march and fanfare make it hard to avoid smiling. The horns have great lyrical lines during the middle of the film with the romance theme. We think you should listen to this score.
Truth, Justice, and the American Way demand it!
This week on Film Score Friday, we listen the score from The Cowboys. John Williams wrote the score for this 1972 western. This was one of John Wayne's last films. So as his career faded, Williams was just rising. Considering the sheer number of scores Williams has written, it's interesting this is nearly the only western.
Although it's not well know relative to other works, this is still some of Williams' best work. From the beginning, with the horn pickups into sixteenth notes, the music paints a great landscape. There's some of the best elements of a classic western score without feeling cliched.
Where does The Cowboys rank for your favorite western score? Let us know in the comments.
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This week on Film Score Friday, we listen to the score from Star Wars: The Force Awakens. As if we could choose anything else on the day this score came out? If you're scared of plot spoilers, do not fear. There will be no plot spoilers in this post.
We're comfortable saying, without hyperbole, this is one of John Williams' finest scores. It's not the best, but certainly in the top ten.
As you know, this is the first time a Star Wars score has not been recorded by the London Symphony. Some of the members of the studio orchestra were understandably excited about the opportunity.
“Getting to be there in the trombone section was a fantasy I had really suppressed since I was in high school when the first [Star Wars] film came out!”
The scored used a 90 piece orchestra with 12 different recording sessions. We do miss the London sound, but nonetheless, it's great. The familiar themes are there, but there's plenty of new material.
Where does this rank in your list of Star Wars score? Let us know in the comments.
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It's one month until the score is released for the new Star Wars. WE ARE EXCITED!
We know a few things, but not much. John Williams is back and had a few comments in a Vanity Fair Interview.
“There are some scenes where we do make reference to earlier thematic pieces. We haven’t done it yet, but we’re planning to do it. It’s something that I think will seem very natural and right in the moments for which we’ve chosen to do these kinds of quotes. There aren’t many of them, but there are a few that I think are important and will seem very much a part of the fabric of the piece in a positive and constructive way.”
One key difference from the past recording of Star Wars is they used a studio orchestra instead of the London Symphony. We're sure it will be great, but there was something great about the marriage between this franchise and the London sound. The few precious bits we get to hear in the trailer sound great. They're clearly new, but familiar at the same time.
The score for this newest Star Wars installment is set to be released December 18. Will you buy it? Let us know in the comments.
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Star Wars: The Force Awakens on Amazon
Anyone know a better performance of this? If so, let us know in the comments so we can buy it immediately.
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This week on Film Score Friday, we listen to the score from Saving Private Ryan. This 1998 film is one of our favorite scores from the war movie genre. In the grand scheme of John Williams scores, this one is quite different. In a typical Williams score you get lots action music accompanying action in the film. This is different. Many of the most intense action-packed parts of the film are without music or have very little accompaniment. The most intense music is saved for lulls in the action. We struggle to advocate for less score from this composer, but the approach works incredibly well.
The score was recorded by the Boston Symphony. The recorded in their usual home, Symphony Hall. The highlight of the score is titled Hymn to the Fallen. Williams said he intended this to be the Requiem of the film. It features chorus and all parts of the orchestra. The middle of this part contains an amazing brass choir section. There have been a number of arrangement for stand alone brass choir since the film debuted. Here's a good one from Vienna Brass Connection.
Where does Saving Private Ryan rank for John Williams scores? Let us know in the comments.
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This week on Film Score Friday, we listen to 1977's Close Encounters of the Third Kind. This John Williams score premiered in the same year as Star Wars. If John Williams had only written one of these score that year it would have been impressive. Both ended up being iconic and helped cement his status.
Many movies are improved or even made with a great score. This film certainly fits that category but goes a step further. Stephen Spielberg insisted the film be edited to match Williams' score. In case you're wondering, it's almost always done the other way around.
If you make a list of memorable Tuba solos from film scores, this must be at the top of your list. It's hard to think of a more memorable Tuba solo than this. The music is so integral to the plot it fits perfectly.
In the video above, Spielberg and Williams talk about the origin of five note motive that appears throughout the film. If you looks real hard you'll see how hard they thought about this when you see a Kodaly reference. The Tuba solo at the climax of the film was performed by Tommy Johnson and Jim Self. It's a classic from the very beginning of the era when great scores began to be paired up with science fiction.
What do you think about Close Encounters? Let us know in the comments.
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PBS posted a concert from last season of the Los Angeles Philharmonic that's worth your time. It features music and interviews from John Williams. It's a great concert with some of your favorites, but some good tidbits and Williams' upbringing and career. The concert is also available on Amazon and iTunes. Enjoy!
“Film cannot live without music”
What's your favorite piece on this program? Let us know in the comments
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A John Williams Celebration on Amazon
A John Williams Celebration on iTunes
