tag:blogger.com,1999:blog-26286106896643728252024-03-15T20:09:43.744-05:00Music Behind the ScreenMusings on Film Composers and Their ScoresUnknownnoreply@blogger.comBlogger338125tag:blogger.com,1999:blog-2628610689664372825.post-79549562200048435302024-02-09T22:30:00.000-06:002024-02-09T22:30:00.142-06:00Roald Dahl on Screen<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVgQkQwTuqgjwjpgfT23ccMhcfCjU3X1OCohMT6tQR0R2JzIGU0Lv1DsR3H7OwHiDxf-DBjSEXSiIQFhYbwhN8dDRMU-DRUzVidiw8UZHK2Y-gtfJGQZAD0SS9ppK4e_zZnMhanFuAOshxgX3BUQJzf-LeUYnCR77y5TmK7L-LgLMj8cEs52anWe_TwLI/s1920/roalddahl.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="962" data-original-width="1920" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVgQkQwTuqgjwjpgfT23ccMhcfCjU3X1OCohMT6tQR0R2JzIGU0Lv1DsR3H7OwHiDxf-DBjSEXSiIQFhYbwhN8dDRMU-DRUzVidiw8UZHK2Y-gtfJGQZAD0SS9ppK4e_zZnMhanFuAOshxgX3BUQJzf-LeUYnCR77y5TmK7L-LgLMj8cEs52anWe_TwLI/w400-h200/roalddahl.jpg" width="400" /></span></a></div><div><span style="font-family: georgia;"><br /></span></div><span style="font-family: georgia;">The fantastical books of <b><span style="font-size: large;">Roald Dahl</span></b> (1916-1990) remain some of the most popular for children around the world. Known for his novels and short stories, they have also had their run as popular film adaptations and musicals. I wanted to take a trip through some theatrical films and the music that accompanied.</span><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsfChLObDgNZUwsHR9-0d_RhB-SqtBKvuEF5YCH9G6rSRAy4OPHLGa_reVIyjRK2ym0iGwREhRn1BpiyLvN2nuwPDd27XEjwLIiY3gXpebF7KMo7v4DUovn7XmaOCfIn_X8kFFmQTGaTnZK7gQgdf-fV8eJJQ1it1Gm7RetUAo6uC-t43nN7CmARu29gk/s1020/dahl_willywonka.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="576" data-original-width="1020" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsfChLObDgNZUwsHR9-0d_RhB-SqtBKvuEF5YCH9G6rSRAy4OPHLGa_reVIyjRK2ym0iGwREhRn1BpiyLvN2nuwPDd27XEjwLIiY3gXpebF7KMo7v4DUovn7XmaOCfIn_X8kFFmQTGaTnZK7gQgdf-fV8eJJQ1it1Gm7RetUAo6uC-t43nN7CmARu29gk/w400-h226/dahl_willywonka.png" width="400" /></span></a></div><div><span style="font-family: georgia;">Dahl's novel became the film <b>Willy Wonka and the Chocolate Factory </b>(1971), now regarded as a family classic. <span style="color: #134f5c;"><b>Anthony Newley</b></span> and <b><span style="color: #134f5c;">Leslie Bricusse</span></b> provided the songs like "Pure Imagination", "The Candy Man" and "Oompa Loompa" with <b><span style="color: #134f5c;">Walter Scharf</span></b> as adaptor and music director. They were all nominated for a Oscar for Song Score/Adaptation.</span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNAXuy0U6cB7k-zyopYdROQ0tj8cmwTcvsukUunulca8cVcqwBOT0lF2NeGopiurOqIZz76K66Jnh_5ZrAIKZhxOvoVUSJqzJ9o9ueYOQwhJ5n64QFam776lRdN5X_aNj-vVVfIa1es9foe0bh2umC6_Y_vBZtaC1fIOfsH9xMksBOQTpy2WXIS2ulPa0/s1330/dahl_witches.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="748" data-original-width="1330" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNAXuy0U6cB7k-zyopYdROQ0tj8cmwTcvsukUunulca8cVcqwBOT0lF2NeGopiurOqIZz76K66Jnh_5ZrAIKZhxOvoVUSJqzJ9o9ueYOQwhJ5n64QFam776lRdN5X_aNj-vVVfIa1es9foe0bh2umC6_Y_vBZtaC1fIOfsH9xMksBOQTpy2WXIS2ulPa0/w400-h225/dahl_witches.jpg" width="400" /></span></a></div><div><span style="font-family: georgia;"><b>The Witches</b> (1990) was next to hit the big screen - a darkly comic version with standout makeup, creature effects and a terrifying performance by Anjelica Huston. <b><span style="color: #134f5c;">Stanley Meyer</span></b>'s fun dark score has never been released.</span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggcpS3ABWSrz-omLkiK2Isr7gKlekRukLLQv2jM0neNY2uBksCCy36B8U9QMe9idMxV4Oj_UsvCxRCuP1cQ6AOLKlj49rPuGIN6AdO0DTgc06riIGEaTRh0Qb6ivmPdXbolS1a0Sq56AT_KlgrXnmYj5-JEgVqyaiDi9QtR831LhIjT87jULviEFrNvHA/s1428/dahl_james.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="968" data-original-width="1428" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggcpS3ABWSrz-omLkiK2Isr7gKlekRukLLQv2jM0neNY2uBksCCy36B8U9QMe9idMxV4Oj_UsvCxRCuP1cQ6AOLKlj49rPuGIN6AdO0DTgc06riIGEaTRh0Qb6ivmPdXbolS1a0Sq56AT_KlgrXnmYj5-JEgVqyaiDi9QtR831LhIjT87jULviEFrNvHA/w400-h271/dahl_james.jpg" width="400" /></span></a></div><div><span style="font-family: georgia;"><b>James and the Giant Peach</b> (1996) saw the fanciful world become stop-motion animated. Providing the few songs and score would be <b><span style="color: #134f5c;">Randy Newman</span></b>, fresh from his Pixar success. Newman's score would be nominated for the Musical or Comedy score at the Oscars.</span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3QBM7HMFtGcEZ16ZLbdcJfvHGx9mGSSJhTHtz3KGmnrNq3E9mpJXwWDfswyuYTX-jTsOAiUPX5B_J9Ky8hD_gk7Ojziie7fAdQFBQkf8AMj3zTlQAATRKjByHTlWYnUyhOixTzsleN5KKjkp_bo1_q24RJd3nBjohRHswkt6wZ7hfFWmQZTEY7yq85uw/s1000/dahl_matilda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="421" data-original-width="1000" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3QBM7HMFtGcEZ16ZLbdcJfvHGx9mGSSJhTHtz3KGmnrNq3E9mpJXwWDfswyuYTX-jTsOAiUPX5B_J9Ky8hD_gk7Ojziie7fAdQFBQkf8AMj3zTlQAATRKjByHTlWYnUyhOixTzsleN5KKjkp_bo1_q24RJd3nBjohRHswkt6wZ7hfFWmQZTEY7yq85uw/w400-h169/dahl_matilda.jpg" width="400" /></span></a></div><div><span style="font-family: georgia;">Also released the same year was <b>Matilda</b> (1996). The adaption kept pretty close to the original book and focused on much of the story's fanciful humor. Frequent collaborator with director Danny DeVito, <b><span style="color: #134f5c;">David Newman</span></b>'s score is energetic, comedic and generally heartfelt.</span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR4ahwhHkLIAbKqlhZk9VsqFq_5LjJUMIQs-PmGDuc-Tfaiwvilo3gyfhYM1Rey4qL1syLQqG0ujfM21ihf59DkVjabnJsPsKWxwNFxh8hrhg2K881Pye9-ndb1TrBLPs2ESoW0LaIoPzvPOti_6swPeRF9dW3jVRPWCOh4Zk2SBN4a81O-wxOPxRp3MA/s723/dahl_charlie.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="481" data-original-width="723" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR4ahwhHkLIAbKqlhZk9VsqFq_5LjJUMIQs-PmGDuc-Tfaiwvilo3gyfhYM1Rey4qL1syLQqG0ujfM21ihf59DkVjabnJsPsKWxwNFxh8hrhg2K881Pye9-ndb1TrBLPs2ESoW0LaIoPzvPOti_6swPeRF9dW3jVRPWCOh4Zk2SBN4a81O-wxOPxRp3MA/w400-h266/dahl_charlie.png" width="400" /></span></a></div><div><span style="font-family: georgia;">Tim Burton directed his take on <b>Charlie and the Chocolate Factory</b> (2005) with Johnny Depp's odd portrayal as Wonka. Even with its mixed results, the film was a box office hit. <b><span style="color: #134f5c;">Danny Elfman</span></b> wrote an extravagant score in addition to writing new songs for the Oompa Loompas (adapting Dahl's original lyrics) - each an eclectic style of music and all performed by Elfman. </span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0t7HsXtiTW8uKadDEcfus2dpeMFdu7e4lGlt33hwrGjYu1QrJyp5n4mPySy6_wXol5bkieiAVJr0FBgxr1YQ7iMFMkYphZyhPpyUp5motsBpi6rz5bHoC2McHp3PgjKjltaFT4VIGv6-vQHPPi2cSe4ltI3hECZHvVrWPzGAw_zl4Vq12kKJUqQLBKJY/s1280/dahl_fantasticfox.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0t7HsXtiTW8uKadDEcfus2dpeMFdu7e4lGlt33hwrGjYu1QrJyp5n4mPySy6_wXol5bkieiAVJr0FBgxr1YQ7iMFMkYphZyhPpyUp5motsBpi6rz5bHoC2McHp3PgjKjltaFT4VIGv6-vQHPPi2cSe4ltI3hECZHvVrWPzGAw_zl4Vq12kKJUqQLBKJY/w400-h225/dahl_fantasticfox.jpg" width="400" /></span></a></div><div><span style="font-family: georgia;">Dahl's work returned to the stop-motion world with <b>Fantastic Mr. Fox</b> (2009). Director Wes Anderson expertly used <b><span style="color: #134f5c;">Alexandre Desplat</span></b>'s quirky mixing of musical styles and whimsical orchestration. The playful and sentimental score was nominated for an Oscar. </span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZAN_SifSJ-5LI3l-9uhoMEkOhTsMZEcW7kl5h3RiCQl64KwLCE5iaoQQTwj_KbJKEtrAWMrumjuhjNWVoZFEDInnZT2slf7bd_iPhrjAzkXT2KnmN04zLSuNq_A_Pq5XY_uk8fMp6eqZg0hXGrqyJ5Uyrx1cao0A64Yi8whJFlm3gOpYpKYsVSxEXfrM/s1199/dahl_bfg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="502" data-original-width="1199" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZAN_SifSJ-5LI3l-9uhoMEkOhTsMZEcW7kl5h3RiCQl64KwLCE5iaoQQTwj_KbJKEtrAWMrumjuhjNWVoZFEDInnZT2slf7bd_iPhrjAzkXT2KnmN04zLSuNq_A_Pq5XY_uk8fMp6eqZg0hXGrqyJ5Uyrx1cao0A64Yi8whJFlm3gOpYpKYsVSxEXfrM/w400-h168/dahl_bfg.jpg" width="400" /></span></a></div><div><span style="font-family: georgia;">Steven Spielberg brought <b>The BFG</b> to the big screen in 2016 with <b><span style="color: #134f5c;">John Williams</span></b> providing the score. He focuses on the tender music for the lead Sophie, with the score coming alive once she heads to Dream Country. Williams clearly enjoyed the balletic nature of catching dreams, with magical orchestration and warmth.</span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaVbKaagqf-MYtqU1lTsDG1O_Qpyv_FJtRxvHgQldj0AoGRUynLA1EQQCsgdu_VTA5VCBnXUCRDzIo4m4guZHf_1e2F3TZRpsGgArD5KeJVmIAzjuHjgNobQsQEUrVwVfKY-n34KJidom9IrELgwBnVab2sgNMvTGl_5ZdGOjEr6IIyDoyf6jSsx2_KwY/s860/dahl_witches20.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="535" data-original-width="860" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaVbKaagqf-MYtqU1lTsDG1O_Qpyv_FJtRxvHgQldj0AoGRUynLA1EQQCsgdu_VTA5VCBnXUCRDzIo4m4guZHf_1e2F3TZRpsGgArD5KeJVmIAzjuHjgNobQsQEUrVwVfKY-n34KJidom9IrELgwBnVab2sgNMvTGl_5ZdGOjEr6IIyDoyf6jSsx2_KwY/w400-h249/dahl_witches20.png" width="400" /></span></a></div><div><span style="font-family: georgia;"><b><span style="color: #134f5c;">Alan Silvestri</span></b> provided a darker score for the remake of <b>The Witches</b> (2020) - another collaboration with director Robert Zemeckis. His Grand Hight Witch theme covers much of the score, with some lighter musical antics and sweeping heroics. In the US, the film was quietly taken off HBO Max, making the film a brief sidenote. </span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5m-J_0mCCVQirZky3NWW7YKpTefyJIIC48Vb4OZPrIFsO-b4Jl_EFpDQBNAAx5ZGe0pu1v-LK0flpMQaliJr67mz9bqcIvxoTLvysCOOMLtBmNPCzKUAcT5q-3tjhh-Ulfk154lLarq2-zaewSIdHOKHHgpyjARnPRXLpjiEJW6JVuKD4fvjc1LJcO4/s1486/dahl_matildamusical.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1044" data-original-width="1486" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5m-J_0mCCVQirZky3NWW7YKpTefyJIIC48Vb4OZPrIFsO-b4Jl_EFpDQBNAAx5ZGe0pu1v-LK0flpMQaliJr67mz9bqcIvxoTLvysCOOMLtBmNPCzKUAcT5q-3tjhh-Ulfk154lLarq2-zaewSIdHOKHHgpyjARnPRXLpjiEJW6JVuKD4fvjc1LJcO4/w400-h281/dahl_matildamusical.jpg" width="400" /></span></a></div><div><span style="font-family: georgia;"><b><span style="color: #134f5c;">Tim Minchin</span></b> wrote the loveable show <b>Matilda the Musical</b>, appearing in the West End in 2011-current and Broadway in 2013-2017. The endearing show was adapted to film in 2022, with many of the songs left in.</span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbOaoPmkhdQE4Kme0WvVfmP_2V-BfpQSpO_auFT1c5Tzhp709st5fQXKZnacLMjzxT6MK4KYTnSIggA79dltok3uaZ3r3c5vXMdefV5zys4VE6edTcn49-mLF-bQXVoZmwgUDnbFIUtjVhEdjTSNIAcngIQDqyppwQbvLrB7w9zW-xbY60CpWIbCD_bD4/s266/dahl_henry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="190" data-original-width="266" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbOaoPmkhdQE4Kme0WvVfmP_2V-BfpQSpO_auFT1c5Tzhp709st5fQXKZnacLMjzxT6MK4KYTnSIggA79dltok3uaZ3r3c5vXMdefV5zys4VE6edTcn49-mLF-bQXVoZmwgUDnbFIUtjVhEdjTSNIAcngIQDqyppwQbvLrB7w9zW-xbY60CpWIbCD_bD4/w400-h286/dahl_henry.jpg" width="400" /></span></a></div><div><span style="font-family: georgia;">In 2023 Wes Anderson to Dahl with <b>The Wonderful World of Henry Sugar</b> in a collection of short films that also included Poison, The Rat Catcher and The Swan. Strangely enough, the short films have no score. </span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW3-lnX_shXLu_w3D_FyBhdz2PLGac4NHLPt59taq2X9YmSTEupYrertoiF7gaqFJu9KEPz23yDwTjiF95rcbX6iF2MbGHXUit-y7NpKZuXc5yTnWHF9l1XNjC-JmfcYv1kj75CYg0VKo8DkPVq032Go0o1p68RzWYygNyVJOaUlGR4kqtP03w0ccK9FA/s2048/dahl_wonka.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1137" data-original-width="2048" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW3-lnX_shXLu_w3D_FyBhdz2PLGac4NHLPt59taq2X9YmSTEupYrertoiF7gaqFJu9KEPz23yDwTjiF95rcbX6iF2MbGHXUit-y7NpKZuXc5yTnWHF9l1XNjC-JmfcYv1kj75CYg0VKo8DkPVq032Go0o1p68RzWYygNyVJOaUlGR4kqtP03w0ccK9FA/w400-h223/dahl_wonka.png" width="400" /></span></a></div><div><span style="font-family: georgia;">Returning to the world of chocolate was the prequel <b>Wonka</b> (2023). Featuring a younger Willy Wonka, it also featured a score by <b><span style="color: #134f5c;">Joby Talbot</span></b>, new songs by <b><span style="color: #134f5c;">Neil Hannon</span></b>, including past songs from 1971.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">In addition to the screenplay to <i>Willy Wonka and the Chocolate Factory</i>, Dahl wrote the screenplays for <b>The Night Digger</b> (1971) with music by <b><span style="color: #134f5c;">Bernard Herrmann</span></b>. He also surprisingly </span><span style="font-family: georgia;">adapted two Ian Fleming novels to the screen: <b>You Only Live Twice</b> (1967) with a great James Bond score by <b><span style="color: #134f5c;">John Barry</span></b> and <b>Chitty Chitty Bang Bang</b> (1968) with songs by the great <b><span style="color: #134f5c;">Sherman Brothers</span></b>.</span></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2628610689664372825.post-43434209501977874942024-01-19T21:45:00.009-06:002024-02-18T17:10:33.578-06:002023 Original Score Awards Roundup<p><span style="font-family: georgia;"> <span> </span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-2YUXwp9BFHny-S3WffTVps7TM8jF2oWNqg9r4QOHwZloh-53nnrPIZ_VvGKWpBZ3xQY6Tz7_252SE8svxJoAE7tOoGFv2zHei7A2k5v6xGPNin5CBc0qLCvEyS7vuUIHV_I2TvH2MuIPb5U8AeLLke7pZ_Ql1pO5h2PaffqlKqPHxD8esEJFQFKf=s599" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="249" data-original-width="599" height="166" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-2YUXwp9BFHny-S3WffTVps7TM8jF2oWNqg9r4QOHwZloh-53nnrPIZ_VvGKWpBZ3xQY6Tz7_252SE8svxJoAE7tOoGFv2zHei7A2k5v6xGPNin5CBc0qLCvEyS7vuUIHV_I2TvH2MuIPb5U8AeLLke7pZ_Ql1pO5h2PaffqlKqPHxD8esEJFQFKf=w400-h166" width="400" /></a></span></p><p></p><p><span style="font-family: georgia;"><span>Here's the annual </span><b><span style="font-size: medium;">2023 Roundup of Original Score</span></b><span> </span><b>nominations and winners</b><span> from various awards associations. Winners will be marked in </span><span style="color: red;"><b>red </b>and updated regularly!</span></span></p><span style="font-family: georgia;"><span><br /><b><span>ACADEMY AWARD<br />BEST ORIGINAL SCORE</span></b></span><br /></span><div><span style="font-family: georgia;"><div style="margin: 0in;"><div>American Fiction (Laura Karpman)<br />Indiana Jones and the Dial of Destiny (John Williams)</div><div>Killers of the Flower Moon (Robbie Robertson)</div><div>Oppenheimer (Ludwig Göransson)</div><div>Poor Things (Jerskin Fendrix)</div></div><span><br /></span><span><b>GOLDEN GLOBE<br />BEST ORIGINAL SCORE </b></span><div><div>The Boy and the Heron (Joe Hisaishi)</div><div>Killers of the Flower Moon (Robbie Robertson)</div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Poor Things (Jerskin Fendrix)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div><div>The Zone of Interest (Mica Levi)</div></div></span><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><span><span><b>BRITISH ACADEMY FILM AWARDS (BAFTA)</b></span></span><br /></span></div><div><span style="font-family: georgia;">Killers of the Flower Moon (Robbie Robertson)</span></div><div><span style="color: red; font-family: georgia;">*Oppenheimer (Ludwig Göransson)</span></div><div><div style="font-family: georgia;">Poor Things (Jerskin Fendrix)</div><div style="font-family: georgia;">Saltburn (Anthony Willis)</div><div style="font-family: georgia;">Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div></div><div><br /></div><div><span style="font-family: georgia;"><span><b>ANNIE AWARDS</b><br /><b>OUTSTANDING ACHIEVEMENT IN AN ANIMATED FEATURE PRODUCTION</b></span></span></div><div><span style="font-family: georgia;"><div><div>The Boy and the Heron (Joe Hisaishi)</div><div>Elemental (Thomas Newman)</div><div><span style="color: red;">*Spider-Man: Across the Spider-Verse (Daniel Pemberton)</span></div><div>Suzume (Kazuma Jinnouchi)</div><div>Teenage Mutant Ninja Turtles: Mutant Mayhem (Trent Reznor, Atticus Ross)</div></div><span><br /></span><span><span><b>SATELLITE AWARDS (INTERNATIONAL PRESS ACADEMY)<br />ORIGINAL SCORE</b></span></span></span></div><div><span style="font-family: georgia;"><div><span><div>American Fiction (Laura Karpman)</div><div>Killers of the Flower Moon (Robbie Robertson)</div><div>Oppenheimer (Ludwig Göransson)</div><div>Poor Things (Jerskin Fendrix)</div><div>Society of the Snow (Michael Giacchino)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div></span></div><span><span><br /></span><span><b>LOS ANGELES FILM CRITICS ASSOCIATION<br />BEST MUSIC SCORE</b></span></span><br /><div><div>Runner-up: Barbie (Mark Ronson and Andrew Wyatt)</div><div><span style="color: red;">*The Zone of Interest (Mica Levi)<br />(with special recognition of the contribution of sound designer Johnnie Burn)</span></div></div><span><span><b><br /></b></span></span></span></div><div><span style="font-family: georgia;"><span><span><b>SAN DIEGO FILM CRITICS SOCIETY<br />BEST USE OF MUSIC</b></span></span><br /></span></div><div><span style="font-family: georgia;">Air</span></div><div><span style="font-family: georgia;">Are You There God, It's Me Margaret</span></div><div><span style="color: red; font-family: georgia;">*Barbie</span></div><div><span style="font-family: georgia;">The Holdovers</span></div><div><span style="font-family: georgia;">The Teacher</span></div><div><span style="font-family: georgia;"><b><span style="text-transform: uppercase;"><br /></span></b><b><span style="text-transform: uppercase;">SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE</span></b><br /></span><div style="margin: 0in;"><span style="font-family: georgia;"><span><b><span style="text-transform: uppercase;">BEST ORIGINAL SCORE</span></b></span><br /></span></div><div style="margin: 0in;"><span style="font-family: georgia;"><span><span style="font-family: georgia;"><div style="margin: 0in;"><span style="color: red;">*Killers of the Flower Moon (Robbie Robertson)</span></div><div style="margin: 0in;">Oppenheimer (Ludwig Göransson)</div><div style="margin: 0in;">Poor Things (Jerskin Fendrix)</div><div style="margin: 0in;">Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div><div style="margin: 0in;">The Zone of Interest (Mica Levi)</div></span></span></span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;"><span><br /></span><b style="text-transform: uppercase;"><span>SEATTLE FILM CRITICS SOCIETY</span></b></span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;"><span style="text-transform: uppercase;"><span><b>BEST ORIGINAL SCORE</b></span></span><br /><span></span></span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;"><span style="text-transform: uppercase;"><span><span style="text-transform: none;">Killers of the Flower Moon (Robbie Robertson)</span></span></span></span></div><div style="margin: 0in 0in 0.0001pt;"><div style="margin: 0in 0in 0.0001pt;"><span style="color: red; font-family: georgia;">*Oppenheimer (Ludwig Göransson)</span></div><div style="margin: 0in 0in 0.0001pt;"><div style="margin: 0in;"><span style="font-family: georgia;">Poor Things (Jerskin Fendrix)</span></div><div style="margin: 0in;"><span style="font-family: georgia;">Spider-Man: Across the Spider-Verse (Daniel Pemberton)</span></div><div style="margin: 0in;"><span style="font-family: georgia;">The Zone of Interest (Mica Levi)</span></div></div></div><span style="font-family: georgia;"><span><br /></span><span><b>WASHINGTON DC AREA FILM CRITICS ASSOCIATION</b></span><br /><span><b>BEST ORIGINAL SCORE</b></span><br /><div><span style="font-family: georgia;">The Color Purple (Kris Bowers)</span></div><div>Killers of the Flower Moon (Robbie Robertson)</div><div><div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Poor Things (Jerskin Fendrix)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div></div><span></span></div><span><b><br /></b><b>BOSTON SOCIETY OF FILM CRITICS<br />BEST ORIGINAL SCORE</b></span><br /><span style="color: red;">*Killers of the Flower Moon (Robbie Robertson)</span></span></div><div><span style="font-family: georgia;">Runner-up: The Zone of Interest (Mica Levi)<br /><span><span><br /></span><span><b>CHICAGO FILM CRITICS AWARDS<br />BEST ORIGINAL SCORE<br /></b></span></span><div><div>Barbie (Mark Ronson and Andrew Wyatt)</div><div><span style="color: red;">*Killers of the Flower Moon (Robbie Robertson)</span></div><div>Oppenheimer (Ludwig Göransson)</div><div>Poor Things (Jerskin Fendrix)</div><div>The Zone of Interest (Mica Levi)</div></div><span><span><br /></span><span><b>DETROIT FILM CRITICS SOCIETY</b></span></span><br /><span><b>BEST USE OF MUSIC/SOUND</b></span><br /><div><br /></div><span><span><b><br /></b></span><span><b>ST. LOUIS FILM CRITICS ASSOCIATION<br />BEST MUSIC SCORE</b></span></span><br /><div><div>Runner-up: Killers of the Flower Moon (Robbie Robertson)</div><div>Runner up: May December (Marcelo Zarvos)</div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div><div>The Zone of Interest (Mica Levi)</div></div><span><span><b><br /></b></span><span><b>INDIANA FILM JOURNALISTS ASSOCIATION</b></span></span><br /><span><span><b>BEST MUSICAL SCORE</b></span></span><br /><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Runner-up: Killers of the Flower Moon (Robbie Robertson)</div><span><span><b><br /></b></span></span><span><span><b>AUSTIN FILM CRITICS ASSOCIATION</b></span></span><br /><b>BEST SCORE</b><br /><div><span style="font-family: georgia;"><div>Barbie (Mark Ronson and Andrew Wyatt)</div><div>Killers of the Flower Moon (Robbie Robertson)</div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Poor Things (Jerskin Fendrix)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div></span></div><span><b><br /></b></span><span><b>NORTH CAROLINA FILM CRITICS ASSOCIATION<br />BEST MUSIC</b></span><br /><div><div>The Killer (Trent Reznor, Atticus Ross)</div><div>Killers of the Flower Moon (Robbie Robertson)</div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Poor Things (Jerskin Fendrix)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div></div><span><br /></span><b><span>DALLAS-FORT WORTH FILM CRITICS ASSOCIATION</span></b><br /><span><span><b>BEST MUSICAL SCORE</b></span></span></span></div><div><div><span style="color: red; font-family: georgia;">*Killers of the Flower Moon (Robbie Robertson)</span></div><div><span style="font-family: georgia;">Oppenheimer (Ludwig Göransson)</span></div></div><div><span style="font-family: georgia;"><span><br /><b>HOUSTON FILM CRITICS SOCIETY<br />BEST ORIGINAL SCORE</b></span><br /><div><span style="color: red;">*Killers of the Flower Moon (Robbie Robertson)</span></div><span><br /></span><span><b>PHOENIX CRITICS CIRCLE</b></span><br /><span><b>BEST SCORE</b></span></span></div><div><span style="font-family: georgia;"><div>Killers of the Flower Moon (Robbie Robertson)</div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Poor Things (Jerskin Fendrix)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div><div>The Zone of Interest (Mica Levi)</div></span></div><div><span style="font-family: georgia;"><span><span><span style="color: red;"><br /></span></span><span><b>LAS VEGAS FILM CRITICS SOCIETY<br />BEST SCORE</b></span></span></span></div><div><span style="font-family: georgia;"><div><div>The Killer (Trent Reznor, Atticus Ross)</div><div>Killers of the Flower Moon (Robbie Robertson)</div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Society of the Snow (Michael Giacchino)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div></div><br /><span><b>PORTLAND CRITICS ASSOCIATION<br />BEST ORIGINAL SCORE</b></span></span></div><div><span style="color: red;"><span style="font-family: georgia;">*Oppenheimer (Ludwig Göransson)</span></span></div><div><span style="font-family: georgia;">Runner-up: Spider-Man: Across the Spider-Verse (Daniel Pemberton)</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><span><b>FLORIDA FILM CRITICS CIRCLE</b></span><br /><span><b>BEST SCORE</b></span><br /></span><div><span style="font-family: georgia;"><div><div><span style="color: red;">*The Boy and the Heron (Joe Hisaishi)</span></div><div>Killers of the Flower Moon (Robbie Robertson)</div><div>Runner-up: Oppenheimer (Ludwig Göransson)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div><div>A Thousand and One (Gary Gunn)</div><div><br /></div></div><span><span><b>GEORGIA FILM CRITICS ASSOCIATION</b></span></span><br /><span><b>BEST ORIGINAL SCORE</b></span><br /></span></div><div><span style="font-family: georgia;"><div>Killers of the Flower Moon (Robbie Robertson)</div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Poor Things (Jerskin Fendrix)</div><div>Runner-up: Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div><div>The Zone of Interest (Mica Levi)</div></span></div><div><span style="font-family: georgia;"><span><span><b><br /></b></span><span><b>LONDON FILM CRITICS CIRCLE<br />TECHNICAL ACHIEVEMENT (FOR MUSIC)</b></span></span><br />The Zone of Interest (Mica Levi)<br /><span><br /><b>BLACK REEL AWARDS<br />OUTSTANDING SCORE</b></span></span></div><div><span style="font-family: georgia;"><span><div><div>American Symphony (Jon Batiste)</div><div>Chevalier (Kris Bowers)</div><div><span style="color: red;">*The Color Purple (Kris Bowers)</span></div><div>Rustin (Branford Marsalis)</div><div>They Cloned Tyrone (Desmond Murray and Pierre Charles)</div></div><br /><b>CRITICS CHOICE AWARDS<br />BEST SCORE</b></span><div><div>Barbie (Mark Ronson and Andrew Wyatt)</div><div>Killers of the Flower Moon (Robbie Robertson)</div><div><span style="color: red;">*Oppenheimer (Ludwig Göransson)</span></div><div>Poor Things (Jerskin Fendrix)</div><div>Society of the Snow (Michael Giacchino)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div></div><span><br /><b>SATURN AWARDS<br />BEST MUSIC</b></span></span></div></div></div><div><span><span style="font-family: georgia;"><div>Avatar: The Way of Water (Simon Franglen)</div><div>Barbie (Mark Ronson and Andrew Wyatt)</div><div>Indiana Jones and the Dial of Destiny (John Williams)</div><div>The Little Mermaid (Alan Menken)</div><div>Renfield (Marco Beltrami)</div><div>Spider-Man: Across the Spider-Verse (Daniel Pemberton)</div></span></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-89104098712666714262023-12-22T22:55:00.004-06:002023-12-22T22:55:44.067-06:00Quick Review: Wonka<div><span style="font-family: georgia; font-size: large;"><b>Wonka</b></span></div><div><span style="font-family: georgia;">Score by <b>Joby Talbot</b></span></div><div><span style="font-family: georgia;">Songs by <b>Neil Hannon</b></span></div><div><span style="font-family: georgia;">Music & Songs Arranged by Joby Talbot, Jeremy Holland-Smith</span></div><div><span style="font-family: georgia;">Orchestrations by Jeremy Holland-Smith, Dave Foster, Harry Brokensha</span></div><div><span style="font-family: georgia;">Conducted by Jeremy Holland-Smith</span></div><div><span style="font-family: georgia;">Original Willy Wonka songs by Leslie Bricusse and Anthony Newley</span></div><div><span style="font-family: georgia;">Score recorded at Abbey Road Studios, AIR Studios, Angel Studios</span></div><div><span style="font-family: georgia;">Total album running time: 56 minutes</span></div><div><span style="font-family: georgia;">Available on WaterTower Music</span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumXHWfLu9ZVA98p_4azMFuJXw_IpRc6ZwcARQVkoO9ACPrahmpzb78Hdbb-ZN8tW9dAXyKhXGMZR_x3uBNoCfPpkyILi02srOg5F8TFTLpyHemCQCktheCXuwrhRAROmPh-TAksXPGQ7S2_MfauLOBpURaNzMKwQtIgc8cnEtRGWKvEB9jmA2nEGDy00/s480/wonkaalbum.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="480" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumXHWfLu9ZVA98p_4azMFuJXw_IpRc6ZwcARQVkoO9ACPrahmpzb78Hdbb-ZN8tW9dAXyKhXGMZR_x3uBNoCfPpkyILi02srOg5F8TFTLpyHemCQCktheCXuwrhRAROmPh-TAksXPGQ7S2_MfauLOBpURaNzMKwQtIgc8cnEtRGWKvEB9jmA2nEGDy00/s320/wonkaalbum.jpg" width="320" /></span></a></div><span style="font-family: georgia;"><br /></span><div><span style="font-family: georgia;">I'll let you in on a secret - <b><span style="font-size: medium;">Wonka </span></b>is a musical. Interestingly enough, all the versions of the Roald Dahl book have some kind of musical moment. <i>Willy Wonka and the Chocolate Factory</i> (1971) had the delightful songs by Anthony Newley and Leslie Bricusse, while Tim Burton's <i>Charlie and the Chocolate Factory</i> (2005) incorporated Dahl's poems into the strange Oompa Loompa songs.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Here we have the marketing department hiding the musical-ness of the film. The songs and singers were a delightful surprise - written by <b>Neil Hannon</b> (known for his band The Divine Comedy). Not only do characters sing throughout the film, the music is so carefully interwoven into the film's score by <b>Joby Talbot</b>. Not even Disney has done this level of melody usage recently! Wonka's motif stems from "A Hatful of Dreams", the mean Scrubbit theme from "Scrub Scrub", and "Sweet Tooth" identifies with the Chocolate Cartel. Thankfully, the score and songs are orchestrated and arranged to match beautifully. I find myself singing the catchy songs that really add a lot to the film's style. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">The album isn't quite in chronological order, but here's a rundown.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">As the Warner Bros and Roald Dahl logo appear, we first hear <b>Pure Imagination (Opening Titles Version)</b>, a lovely simple arrangement of the melody on piano with magical orchestral touches. The film begins right away with the whistle introduction of <b>"A Hatful of Dreams"</b>. Timothée Chalamet as Wonka enters the town, transitioning into the catchy "I want" song. <b>Welcome to Scrubbit's</b> features pizzicato strings, celeste before balalaika and flute introduces the melody of "Scrub Scrub". The melody continues to grow with interesting instrumentation. The introductions of "Hatful" and snippet of "World of Your Own" blend together to end the cue. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">For Wonka's first chocolate demonstration, we hear <b>"You've Never Had Chocolate Like This (Hoverchocs)"</b>. Another catchy tune with delightful rhymes and neat instrumentation. The chocolate causes the Chocolate Cartel members to levitate in <b>Flying Chocolatiers</b> - the melody of the previous song continues. The rest of the trapped workers sing <b>"Scrub Scrub"</b>, laundering to the beat of the song. The strong minor key vamp give it the feel of a Kander & Ebb song. <b>Wonka's Case</b> continues with strings and celeste with the melody of <b>"</b>World of Your Own<b>"</b> in a music box arrangement. The music gives the several flashbacks a sentimental mood. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">The Chocolate Cartel members bribe the police chief in <b>"Sweet Tooth"</b>, with a tango-esque feel. The song builds to big Broadway finish. <b>Willy and Noodle at the Zoo</b> follows their break in with twinkling instruments and chorus and we hear bits of "Never Had Chocolate". Strings and piano introduce the melody of the following song "For a Moment" as Noodle and Willy bond. The piano continues into <b>"For a Moment"</b> as Noodle sings her ballad. The duet continues with Wonka's rhyming counterpart. He helps give her hope while lifting her spirits with a flight out of the zoo on a bundle of balloons. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>The Letter 'A'</b> starts on marimba with mandolin continuing the melody of "For a Moment" with some lighter instrumentation, very Desplat-eque. <b>Clock Tower</b> beings with the chime of the "Hatful of Dreams" introduction and the lilting melody of "Never Had Chocolate". The reprise of <b>"You've Never Had Chocolate Like This"</b> sees Wonka using his secret operation to sell his chocolate concoctions to townspeople. We also get a bit of Noodle teaching Wonka to read and the Cartel trying his sweets. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Wonka finally catches the 'little orange man', Lofty the Oompa Loompa. The song <b>"Oompa Loompa"</b> begins with Lofty playing the pipe notes from <i>Willy Wonka and the Chocolate Factory</i>. With new lyrics, he sings about being kicked out of town and tracking Wonka down. New lyrics by Neil Herron, original song by Leslie Bricusse and Anthony Newley. The arrangement makes it fit with the other songs, but it is weird hearing the familiar song with different lyrics.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">As Wonka finally opens his magical shop, he sings <b>"A World of Your Own"</b>, which grows into a jazzy 60's pop number with his compatriots adding in background vocals. After getting pushed out, Wonka sings the short piano ballad <b>"Sorry, Noodle"</b>. <b>Mamma's Secret</b> is a gentle version of the intro and melody from "A World of Your Own" on piano. This sentimental version works great in the scene. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Pure Imagination</b> (the classic Newley/Bricusse song from 1971) appears in a slower version with some updated lyrics. As more instruments add their own counter line, the tempo picks up to a bigger finish. In the end credits we hear <b>"Oompa Loompa (Reprise)"</b> with Lofty following up with the whereabouts of characters.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Here we find the longer score tracks placed at the end of the album. The "Hatful" introduction expands in <b>500 Monks, 1 Giraffe</b>. The tension builds with bits of "Sweet Tooth" brought in before the tempo increases. The monk choir adds chants of 'giraffe' while the brushed snare drum helps keep the momentum. <b>Death By Chocolate</b> adds more drama with ticking, brass growling and muted trumpets on the "Sweet Tooth" melody. Even "Oompa Loompa" has a moment in the mix before the swirling and rising orchestra takes over. We hear more "Hatful" and "Sweet Tooth" before the piano takes over with a brief statement of "For a Moment". <b>The Oompa Loompa to the Rescue</b> is fun orchestral take on the "Oompa Loompa" melody with some heroics mixed with "Hatful" and the comically dissonant "Sweet Tooth". <b>Noodle Gives Affable the Ledger</b> starts with the "Sweet Tooth" melody in woodwinds and later muted trumpets. It transitions to the comic sound used earlier in the flying sequence. <b>Chocolate Fountain</b> rises and leads to the main melody of "Never Had Chocolate", expanding with choir and chimes to the final notes. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">You can imagine a film based on Roald Dahl's book is going to have whimsy, magic and a little sinister fun. Not only does Wonka have that, Talbot and Hannon collaborated on one the most cohesive musical scores on film recently. </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-37964647940977360042023-11-20T12:07:00.001-06:002023-11-20T12:07:00.134-06:00Music Behind the Ride: Rogers the Musical<div style="text-align: left;"><span style="font-family: georgia;"><span>In this </span><b><u><span style="color: #073763;">Music Behind the Ride</span></u></b><span>, I wanted to look at the recent Disney live stage production based on the most unlikely of sources</span><span> - </span><b><span style="font-size: large;">Rogers: The Musical</span></b><span>. </span></span></div><div style="text-align: left;"><span style="font-family: georgia;"><span><br /></span></span></div><div style="text-align: left;"><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitD9n_nRTyuwGPjTwe9J0yKwzbJ4Kr-j1KJDmtF-SVFiDv5ztIRkIpb_JcZ6nNuKG0xplWI6f8oDyrj0YuAqeEsYPHUstGrAEoY8a3IcPQsw4yHlATc8i-mynwovdFzU3pmOAKdji18rfsmAr3guOOdGaeTmcuD6jYbs6H-vULddkwMWg-C92vBwiTJas/s1024/rogers_dcasign.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="632" data-original-width="1024" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitD9n_nRTyuwGPjTwe9J0yKwzbJ4Kr-j1KJDmtF-SVFiDv5ztIRkIpb_JcZ6nNuKG0xplWI6f8oDyrj0YuAqeEsYPHUstGrAEoY8a3IcPQsw4yHlATc8i-mynwovdFzU3pmOAKdji18rfsmAr3guOOdGaeTmcuD6jYbs6H-vULddkwMWg-C92vBwiTJas/w640-h397/rogers_dcasign.png" width="640" /></a></div></span></div><div style="text-align: left;"><span style="font-family: georgia;">In the first episode of 2021's <i><b>Hawkeye </b></i>on Disney+, we see Clint Barton dealing with his past trauma during a showing of the in-universe <i>Rogers: The Musical</i>. Hawkeye sits uncomfortably during the musical number "Save the City". New Yorkers sing about their need for saving while introducing each Avenger: Captain America, Black Widow, Iron Man, Hawkeye and Hulk. We also see various Chituri, Loki and even Ant-Man (not even in the Battle for New York). We only see snippets of the Broadway number in the first episode, but the entire thing is shown in the credits of the show's finale. The song was written by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman. </span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwlt0ka11_v9V5KTbTU1mTRBL3UogTLTD5E0defqivduyOkIjQOx7VScvwKwIEzO5gttzqnHxdbA04u4h3BqzLsV4YPRd3B-3GhX9FSBUnLHC0-7gIRJW2Bh8BzZdlae_VbkhgOSRzPA8OdB2MhIplHbVq_lYAiWo1_2aBzlFgOuLxc6bCJAitDZ0ZPmE/s1597/hawkeye_rogersmarquee.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="671" data-original-width="1597" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwlt0ka11_v9V5KTbTU1mTRBL3UogTLTD5E0defqivduyOkIjQOx7VScvwKwIEzO5gttzqnHxdbA04u4h3BqzLsV4YPRd3B-3GhX9FSBUnLHC0-7gIRJW2Bh8BzZdlae_VbkhgOSRzPA8OdB2MhIplHbVq_lYAiWo1_2aBzlFgOuLxc6bCJAitDZ0ZPmE/w640-h269/hawkeye_rogersmarquee.png" width="640" /></span></a></div></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia;">The next stop was at the D23 Expo in 2022, where "Save the City" was performed live with a full cast and band led by Marc Shaiman. Around that time, Disney Live Entertainment looked at transforming the song into a full live stage show to fill the empty Hyperion Theater at Disney California Adventure. </span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span><span style="font-family: georgia;">Broadway writer Hunter Bell would write a the book, and Jordan Peterson would direct. Christopher Lennertz, Peterson and Alex Karukas would write five new songs, filling out the show with "Save the City" and "Star Spangled Man" (the Alan Menken/David Zippel song from <i>Captain America: The First Avenger</i>). Eventually it became the a 30 minute stage show full of music, humor and heart.</span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span><span style="font-family: georgia;">Now onto the show. Captain's shield is projected onto the curtain and an illuminated radio plays old-time jazz tunes and pre-show announcements. After the fanfare, we're introduced to the Starkettes, three storytellers that welcome us and begin to tell the story of Steve Rogers in <span style="color: #cc0000;">"U-S-Opening Night"</span>. They are joined by dancers, paperboys and soldiers dancing around the Stark Club. When Steve enters, we hear a snippets of the Captain America theme by Alan Silvestri. After greeting his pal Bucky, Steve sings the ballad <span style="color: #0b5394;">"I Want You"</span> under an Uncle Sam poster while seeing various doctors turn him away. </span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_rJn30yZdJRlk30R7YgwOlyjDPVHUf64OPqxzPjWE7yp_4Lgc55OSjxCmPTklJ47V_yAv1N5pMSfp0WbKO8LGhYXCgPnyNImRLOvGUI2zRIvW5gAHfkMXFsoaGccfruYr0t4iTbdUlNftiowIaJqsIKqrn7Ly0UuUs08SMPTrYdGplq29XE1fa-QZ0nM/s900/rogers_wantyou.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="900" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_rJn30yZdJRlk30R7YgwOlyjDPVHUf64OPqxzPjWE7yp_4Lgc55OSjxCmPTklJ47V_yAv1N5pMSfp0WbKO8LGhYXCgPnyNImRLOvGUI2zRIvW5gAHfkMXFsoaGccfruYr0t4iTbdUlNftiowIaJqsIKqrn7Ly0UuUs08SMPTrYdGplq29XE1fa-QZ0nM/w400-h260/rogers_wantyou.jpg" width="400" /></a></div></div><div style="text-align: left;"><span style="font-family: georgia;">Dr. Erskine and Agent Carter meet up with Steve, introducing him to the Super Soldier machine with the Skarkettes sing part of <span style="color: #cc0000;">"Star Spangled Man"</span>. He steps into the machine and steps out as Captain America. He quickly jumps into the role as war bond mascot as the song continues. Agent Carter tells him about a mission to rescue Bucky, and they sing a snippet of <span style="color: #0b5394;">"Just One Dance"</span>. A comic book-styled montage of Captain's missions plays over different verses of <span style="color: #cc0000;">"Star Spangled Man"</span>. <span style="color: #0b5394;">"Just One Dance"</span> continues as Steve's plane crashes into the ice.</span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAqdkJV-_HZBLhg54mEtY2KL94cT43EQN-axKRtobCkCUyhpF2YkDpvkCgwsSzyH73S05gT3b5saVkFq_1WPY74fuxs1y63wq-ZRRDo7jJeuMA4dBmzH9QxOSeqyxKzqcDqTGkBXIR9o4tAoR7fqgtfiOkmcmfNXIZn8q8xoQ4QGTXXYa7XN4IA0XhfcA/s1024/rogers_carter.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="576" data-original-width="1024" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAqdkJV-_HZBLhg54mEtY2KL94cT43EQN-axKRtobCkCUyhpF2YkDpvkCgwsSzyH73S05gT3b5saVkFq_1WPY74fuxs1y63wq-ZRRDo7jJeuMA4dBmzH9QxOSeqyxKzqcDqTGkBXIR9o4tAoR7fqgtfiOkmcmfNXIZn8q8xoQ4QGTXXYa7XN4IA0XhfcA/w400-h225/rogers_carter.png" width="400" /></span></a></div></div><div style="text-align: left;"><span style="font-family: georgia;">Time passes with sound clips as Steve wakes up in a hospital. Nick Fury gives him the rundown of <span style="color: #cc0000;">"What You Missed"</span>. This patter song (mixed with funk) has tons of quick references, which also appear on the Times Square-styled billboards. The Starkettes jump in with musical references to the "I Love Lucy" theme, Imperial March from <i>Star Wars</i> and "Friend Like Me" from <i>Aladdin</i>. Nick introduces the Avengers as their Alan Silvestri theme plays. He quickly introduces the other MCU characters as Captain suits up with jacket and shield. </span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-tTBLsMTMGdQferTBBJTeJYgNmm09mgn71m0VyHQzvH6H-U5tOZu_zrCKwN8xvCFZS5-WA16GsX08hujfgLxQ2PbvuN2MFtbFI_2SnvDtSPdeglsBs1ZUgTiye6IL5JiXYW9rVA_Ot0wCKarKj3Ex1rfgcRHi3qyyertjruAxiLxUHDjZO8iwpqsujq4/s900/rogers_missed.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="539" data-original-width="900" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-tTBLsMTMGdQferTBBJTeJYgNmm09mgn71m0VyHQzvH6H-U5tOZu_zrCKwN8xvCFZS5-WA16GsX08hujfgLxQ2PbvuN2MFtbFI_2SnvDtSPdeglsBs1ZUgTiye6IL5JiXYW9rVA_Ot0wCKarKj3Ex1rfgcRHi3qyyertjruAxiLxUHDjZO8iwpqsujq4/w400-h240/rogers_missed.jpg" width="400" /></span></a></div></div><div style="text-align: left;"><span style="font-family: georgia;">An announcer mentions the alien invasion with a large explosion, leading into <span style="color: #0b5394;">"Save the City"</span>, replicated pretty much from <i>Hawkeye</i>. After the applause, bits of the song are interjected with the announcer mentioning the Sokovia attack, Winter Soldier attack on Washington DC, and Wakanda attack.</span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span><span style="font-family: georgia;">Captain America meets up with older Steve Rogers on a bench, and they sing the duet <span style="color: #cc0000;">"End of the Line"</span>. We see comic projections from the time stone of young Steve, Captain and Sam Wilson's Captain. A clock ticks with snippets of past conversations with Peggy Carter. She's standing outside of the Stark Club and sings <span style="color: #0b5394;">"Just One Dance"</span>, which Steve joins in. The narrating Starkettes return for the <span style="color: #cc0000;">"Finale"</span> with the whole cast and a reprise of <span style="color: #0b5394;">"Save the City"</span> with mini reprises of other songs put in. The company takes their bow to a playoff reprise of <span style="color: #cc0000;">"End of the Line"</span>. </span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIyrFjVf53Y1DXRTx7SsAUim6_jR99Ady27_i6Hcc6VouxkjCOWRFo4qg7wWXC1feXhXLwOvZZ_ysTpfbmPuyq0Wu71Oia1wriy-Exlk2uZ1GD7plP5-sPtbBm_3rJiZwKDV8yxMk55onUhkru0GuPnGdIs1UZ5MYL-dZ3gb4SxepfIgKNg4MqqvxYK3k/s900/rogers_finale.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="581" data-original-width="900" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIyrFjVf53Y1DXRTx7SsAUim6_jR99Ady27_i6Hcc6VouxkjCOWRFo4qg7wWXC1feXhXLwOvZZ_ysTpfbmPuyq0Wu71Oia1wriy-Exlk2uZ1GD7plP5-sPtbBm_3rJiZwKDV8yxMk55onUhkru0GuPnGdIs1UZ5MYL-dZ3gb4SxepfIgKNg4MqqvxYK3k/w400-h259/rogers_finale.jpg" width="400" /></span></a></div></div><div style="text-align: left;"><span style="font-family: georgia;">The show ran at the Hyperion Theater in Disney California Adventure from June to August 2023. A digital cast recording of the show followed in September 2023. With great reviews and reception from park guests, the future of <b>Rogers: The Musical</b> is uncertain. For a brief time, it was great to have the Hyperion Theater filled with campy humor, real heart and singing Marvel superheroes.</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-52385494002024666722023-10-22T12:00:00.001-05:002023-10-22T12:00:00.137-05:00Top 10 Scores Turning 10 in 2023<span style="font-family: georgia;">Back to our musical score time machine! For this edition, we're looking back to <b>2013</b>! Here's a look back at the scores of the year with my list of the <b><span style="font-size: medium;">10 Best Scores Turning 10</span></b>!<br /><br />Let's start the ranking!<br /><br /><b><span style="font-size: medium;">10. Iron Man 3 (Brian Tyler)</span></b></span><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLoRp_mKFO4N1JIKAi-8Uo6V-KVQbiq9h4k8sgSPo41w6-T_34KXozHt3-AUZAs1aZREaIQM-dJ9QWt-PJhehLQ_PezQ82lYLMQDIkww_3q2Y-r-8R7jdnQZ9vAJBHDXysgguClgQmOgi_3KZsoNmOGlw-_tR9zbbQMzXQg3XaKDHo734hnQRg9S7Epo/s250/13ironman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLoRp_mKFO4N1JIKAi-8Uo6V-KVQbiq9h4k8sgSPo41w6-T_34KXozHt3-AUZAs1aZREaIQM-dJ9QWt-PJhehLQ_PezQ82lYLMQDIkww_3q2Y-r-8R7jdnQZ9vAJBHDXysgguClgQmOgi_3KZsoNmOGlw-_tR9zbbQMzXQg3XaKDHo734hnQRg9S7Epo/w200-h200/13ironman.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Tyler finally gives Iron Man a shining musical identity...for at least this film. Extremis and Mandarin low electronic melodies aren't the strongest, even though they're featured heavily. Iron Man gets his solid theme, used in full "epic blockbuster" sound using Tyler's signature rock sound along the way. The 60s end credit arrangement is also a blast. <br /><br /><b><span style="font-size: medium;">9. Philomena (Alexandre Desplat)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg54zl6NWfCVCEgtmXjHR9pa1qztFLKf2YCKVhQJTlTJGf-KVea-b8LQGqMPwvkuVRmtCRCPPfzJrV6TTFx7D2wv798vD42Rn-xBTR_fFGM-CMa6hoA1Ll38_st9HxJfv5Oa8FjqlH0ClzIELGZxc-Gqy0Pd0rJboylWZdXl8DJQwCh-a1CrgHUdhmUw0c/s250/13philomena.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg54zl6NWfCVCEgtmXjHR9pa1qztFLKf2YCKVhQJTlTJGf-KVea-b8LQGqMPwvkuVRmtCRCPPfzJrV6TTFx7D2wv798vD42Rn-xBTR_fFGM-CMa6hoA1Ll38_st9HxJfv5Oa8FjqlH0ClzIELGZxc-Gqy0Pd0rJboylWZdXl8DJQwCh-a1CrgHUdhmUw0c/w200-h200/13philomena.jpg" width="200" /></a></div><span style="font-family: georgia;">This score shows off Desplat's lighter side, still teeming with emotion and beautiful orchestration. His recurring melody is this airy waltz that lends itself to the touching and funny moments of the film. <br /><br /><b><span style="font-size: medium;">8. Now You See Me (Brian Tyler)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnXycL1cvJlmpk_S7q7rXeh3hgVUEX2OdADhy6lU98dgZOntHvxrjs_AOyuqIiC4vzD6r9gl9C4VUsK7avZYw-wuDHu7_izEgZVy16hPMjr3eZT0M91-kQHj0JRGSC-C7J8WLj-sudjzNHS_tKmuYzOma3QJhK019WQHTrFEZt_BUioG4gWCy_D6j147k/s250/13nowyousee.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnXycL1cvJlmpk_S7q7rXeh3hgVUEX2OdADhy6lU98dgZOntHvxrjs_AOyuqIiC4vzD6r9gl9C4VUsK7avZYw-wuDHu7_izEgZVy16hPMjr3eZT0M91-kQHj0JRGSC-C7J8WLj-sudjzNHS_tKmuYzOma3QJhK019WQHTrFEZt_BUioG4gWCy_D6j147k/w200-h200/13nowyousee.jpg" width="200" /></a></div><span style="font-family: georgia;">What a fun score - full of in your face action caper moments. Tyler's score is full of drum set and funky brass and some great statements of the main themes.<br /><br /><b><span style="font-size: medium;">7. The Hobbit: The Desolation of Smaug (Howard Shore)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzAdvHYap8VW-lXoDcSdy2Y-O4mPH2I4I5eG4-jMZwv_uKRgGq1EqdfnM_XVXAhwFW4Rmkqw0pxQihoS6l5rvboSh2p_5SEz3xxCSClrJLOAuve_CD9u-pDOtDbnZE88Kpu35m5Hzb6pdPcgXioROp8mhb-Kicv4FiezSuiPOziaY4Wqzk9p1s4vccgxY/s250/13hobbit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzAdvHYap8VW-lXoDcSdy2Y-O4mPH2I4I5eG4-jMZwv_uKRgGq1EqdfnM_XVXAhwFW4Rmkqw0pxQihoS6l5rvboSh2p_5SEz3xxCSClrJLOAuve_CD9u-pDOtDbnZE88Kpu35m5Hzb6pdPcgXioROp8mhb-Kicv4FiezSuiPOziaY4Wqzk9p1s4vccgxY/w200-h200/13hobbit.jpg" width="200" /></a></div><span style="font-family: georgia;">The music might be one of the better parts of the film - several reoccurring themes get new variations. New material focuses on themes for Smaug, Laketown and Tauriel. The darker fantasy elements match nicely with the action set pieces.</span><div><span style="font-family: georgia;"><br /></span><div><span style="font-family: georgia; font-size: medium;"><b>6. Frozen (Christophe Beck)</b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Ffgcq3XoUIX9QEpAej_Z1JD5_8e3oUOrjSsztYj9g9J16U9iS0ATj7ZhW9rLD2wTncRX4Mu9lmu3lo2d3tJKx3UEvm83KbE3vT8a2-mUAMVyXGBMw4o7k1v8Mc6laLLbeZ17KajmLW2SOm4L_Q9v2fYG5N8ojKp-SMddIqENDMqf3qHoVCxyeHjD1GM/s250/13frozen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Ffgcq3XoUIX9QEpAej_Z1JD5_8e3oUOrjSsztYj9g9J16U9iS0ATj7ZhW9rLD2wTncRX4Mu9lmu3lo2d3tJKx3UEvm83KbE3vT8a2-mUAMVyXGBMw4o7k1v8Mc6laLLbeZ17KajmLW2SOm4L_Q9v2fYG5N8ojKp-SMddIqENDMqf3qHoVCxyeHjD1GM/w200-h200/13frozen.jpg" width="200" /></a></div><span style="font-family: georgia;">The songs hit the charts and the cultural zeitgeist. Beck's score is full of magical moments, enormous heart and strong (but brief) action pieces. The choral opening (co-written by Frode Fjellheim) is a highlight. <br /><br /><b><span style="font-size: medium;">5. The Lone Ranger (Hans Zimmer)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKDR9lQdtoE5bZq48FTE0mrz-BHlhyphenhyphenKYQQCRaTxboTN-zflKU-BhmyRUbj3k6s07beMmrlsdymSaFdgADQMLoFWtEYSXDEZs-3TfQLD4qu8deekEgwZyKOhZVMqY5IDDpydY1_fIMyuasoGFmAhV7Z8c5B20-9wNVAuZylVsE-eftjm2gQ8lxLxH_VhSU/s250/13loneranger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKDR9lQdtoE5bZq48FTE0mrz-BHlhyphenhyphenKYQQCRaTxboTN-zflKU-BhmyRUbj3k6s07beMmrlsdymSaFdgADQMLoFWtEYSXDEZs-3TfQLD4qu8deekEgwZyKOhZVMqY5IDDpydY1_fIMyuasoGFmAhV7Z8c5B20-9wNVAuZylVsE-eftjm2gQ8lxLxH_VhSU/w200-h200/13loneranger.jpg" width="200" /></a></div><div><span style="font-family: georgia;">A cross between Pirates of the Caribbean and Sherlock Holmes - Zimmer went full Western. It's a bit dark in spots, but full of adventure, melodies and Morricone references. The Geoff Zanelli-arranged William Tell finale is absolutely worth a listen - just don't watch the movie.<br /><br /><b><span style="font-size: medium;">4. Gravity (Steven Price)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOR-6vbvcIgTY2T24Z1Uv0dM2RwJNgI42xNN5XzVES7SvwfJN5FYuZBHItS8wc8vj0GMBBMfXbYL4Cn7I0Vh_qaxbuvOZ62neOl4EsDK4FCVgDBvTYjw0LwDi74r9pwo0IVGZ-nJ4tjLACS4_QMD2oUwy1AS5Z2Fb4MvsCQcqgP1UoB3nJLGcasuQDipM/s250/13gravity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOR-6vbvcIgTY2T24Z1Uv0dM2RwJNgI42xNN5XzVES7SvwfJN5FYuZBHItS8wc8vj0GMBBMfXbYL4Cn7I0Vh_qaxbuvOZ62neOl4EsDK4FCVgDBvTYjw0LwDi74r9pwo0IVGZ-nJ4tjLACS4_QMD2oUwy1AS5Z2Fb4MvsCQcqgP1UoB3nJLGcasuQDipM/w200-h200/13gravity.jpg" width="200" /></a></div><span style="font-family: georgia;">One of the thrilling aspects of the film is the score. A mix of orchestra, electronics and sound designs. It highlights the loneliness, scariness and beauty of space. Music is featured so heavily in the film, matched with some stunning visuals and notably in the standout finale. <br /><br /><b><span style="font-size: medium;">3. The Croods (Alan Silvestri)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglkn40EpYvw-1TqhF0lzFDSBHorQ97MVuw9z4NySGb-2PjsnqDs8yR2U6ncihEklb8gF9dBzZ5aggfH0ySFdKRg7qX7C49HdJIcRkPdjD0frhFQyAu0lJvxPWQ8zVq4i2kkdKpshTcaNt8JVOABujXQ-p7bQuBuziO40layBPuImkubuXBlgQZrQOORLY/s250/13croods.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglkn40EpYvw-1TqhF0lzFDSBHorQ97MVuw9z4NySGb-2PjsnqDs8yR2U6ncihEklb8gF9dBzZ5aggfH0ySFdKRg7qX7C49HdJIcRkPdjD0frhFQyAu0lJvxPWQ8zVq4i2kkdKpshTcaNt8JVOABujXQ-p7bQuBuziO40layBPuImkubuXBlgQZrQOORLY/w200-h200/13croods.jpg" width="200" /></a></div><span style="font-family: georgia;">What a blast of an animated score - zany antics are scored wall-to-wall. There's the marching band sequence, plenty of mickey-mousing and classic Silvestri action scoring tricks. The score stands out because of the main theme which became the end credit song, with the family theme and cave painting theme adding the heart into the film.<br /><br /><b><span style="font-size: medium;">2. The Book Thief (John Williams)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjErkyjWh-PIWcpFZosIgA6T4rIrDUjz2f0dw1Ic-KtZqjYbMmy_KbeSFZ849h1t_xZEmmQdSelvOWDQFfcBkot6j3doVHXFZlnWw-nKcrrxC4hsq1VGIOGZ6UiDAXyRoCi16TB2w-ifwFeIx1uCQeCYOkymIrKSP-VTPW3xzLnggBCAsiIFfysaIQ2s1A/s250/13bookthief.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjErkyjWh-PIWcpFZosIgA6T4rIrDUjz2f0dw1Ic-KtZqjYbMmy_KbeSFZ849h1t_xZEmmQdSelvOWDQFfcBkot6j3doVHXFZlnWw-nKcrrxC4hsq1VGIOGZ6UiDAXyRoCi16TB2w-ifwFeIx1uCQeCYOkymIrKSP-VTPW3xzLnggBCAsiIFfysaIQ2s1A/w200-h200/13bookthief.jpg" width="200" /></a></div><span style="font-family: georgia;">Williams added a sense of loss, longing and warmth to this film adaptation. Solo piano leads many cues, while the beautiful melodies feature a small ensemble with solo woodwinds and harp. The score is more subtle, which is finally allowed to shine in the full concert suite at the end of the album. <br /><br /><b><span style="font-size: medium;">1. Saving Mr. Banks (Thomas Newman)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTBWw_HP4iYWs3vQ4E1ZSTYwlEZ5BGWh82Yg2VwF7BKRUSqXcF-1XTjKSYQTe9S4Wg4pJjuTyAg_LBWhwIlLIYswWmLXZLsd6YfKi0N_eLF8FJYk74OyKIs1n_4yJjVJTbus9F3UscsjxRm9JApqN7UbCOmZCWznEblCPIw-eBt8mxLGXlAlzuJ4HwHE/s250/13mrbanks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="250" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTBWw_HP4iYWs3vQ4E1ZSTYwlEZ5BGWh82Yg2VwF7BKRUSqXcF-1XTjKSYQTe9S4Wg4pJjuTyAg_LBWhwIlLIYswWmLXZLsd6YfKi0N_eLF8FJYk74OyKIs1n_4yJjVJTbus9F3UscsjxRm9JApqN7UbCOmZCWznEblCPIw-eBt8mxLGXlAlzuJ4HwHE/w200-h200/13mrbanks.jpg" width="200" /></a></div><span style="font-family: georgia;">Newman's signature style in apparent in this scores' melody, harmony and instrumentation. It doesn't try to compete with the Mary Poppins melodies, instead giving some emotional moments to PL Travers backstory and optimistic charm to Disney. Newman completely elevated the film with his touching score. <br /><br /><b>Honorable Mentions:</b></span></div><div><span style="font-family: georgia;">42 (Mark Isham), Oblivion (M83/Joseph Trapanese), Oz the Great and Powerful (Danny Elfman), Rush (Hans Zimmer), Star Trek Into Darkness (Michael Giacchino), Thor the Dark World (Brian Tyler)<br /></span><div><span style="font-family: georgia;"><br />Any personal favorites of yours from 2013 that I didn't include?</span></div><div><br /></div></div></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-80577828999718387902023-10-10T15:36:00.001-05:002023-10-10T20:37:03.375-05:00Broadway goes Back to the Future<p><span style="font-family: georgia;">In addition to being a film score fan, I also am a huge fan of Broadway musicals. I wanted to focus on something I noticed as my worlds collided with <b><span style="font-size: medium;">Back to the Future: The Musical</span></b>. </span></p><p><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKqvDhzhnN2XZQ7ScXsmZM5C9grd4Si3fRAejAh-WZN1OAjj5dZgKWnWg7U-_EexfAje0HvA4mr-VopaYUJ-DeguA5HPpzpFU8jAHK50dS9SS8QqATqqPHzNkyZReHa4iUVV1Dub8Dzh379uTDEN9GSQFQKv8PhEdaRmXmMLo7HnM7y26bauVy2104x4/s991/bttflondon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="991" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKqvDhzhnN2XZQ7ScXsmZM5C9grd4Si3fRAejAh-WZN1OAjj5dZgKWnWg7U-_EexfAje0HvA4mr-VopaYUJ-DeguA5HPpzpFU8jAHK50dS9SS8QqATqqPHzNkyZReHa4iUVV1Dub8Dzh379uTDEN9GSQFQKv8PhEdaRmXmMLo7HnM7y26bauVy2104x4/w400-h193/bttflondon.jpg" width="400" /></a></span></div><p></p><p><span style="font-family: georgia;"><b>Adapting films into stage musicals</b> isn't a new fad, but it's definitely been seen more in recent seasons. For most properties, it's all about the name recognition, predefined characters and built in fanbase. </span></p><p><span style="font-family: georgia;">Originally, shows used to change names (<i>The Apartment</i> became <i>Promises, Promise</i>s, <i>Smiles of a Summer Night</i> became <i>A Little Night Music</i>, etc). Then there are the adaptations that feature an iconic song from the film (sometimes by contract, sometimes for fan expectation): "Springtime for Hitler" had to be in <i>The Producers</i>, "Day-O" happens in <i>Beetlejuice the Musical</i>, <i>Rocky the Musical</i> used both "Eye of the Tiger" and "Gonna Fly Now" as montage music, and <i>Shrek the Musical</i> added "I'm a Believer" after the show opened.</span></p><p><span style="font-family: georgia;">But in the years of musical adaptations, I can't think of many other examples where the film songs are heard AND you also hear snippets of the film's score. The new songs were written by <b>Alan Silvestri</b> and <b>Glen Ballard</b>. For films they've collaborated on songs for <i>The Polar Express</i>, <i>Beowulf</i>, <i>A Christmas Carol</i>, <i>The Croods</i> and <i>Pinocchio</i>. Included in the musical are songs from the film - "Earth Angel", "Johnny B. Goode". They also decided on using the iconic Huey Lewis songs "Power of Love" and "Back in Time". Since Silvestri himself was involved, it makes sense to include moments from his iconic film score. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKEaT-18xKh5A59pPLC52XrXLeHGxpFyuxIsecV3KsyuIcZm92XN_gHu_5ACBg0sjxurU0Gd0KiFaKSNpjzHR1sTAuzbp6CDcVh1LWL35jUp5VZXZpF5W5mMBoR-USzTQ-YwLN1J5cj9tgUU7OLuJjEF2KXc8_7ywwjhYiAnTTKUNLefRz8FjWd8AGrvw/s1920/bttfmarty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKEaT-18xKh5A59pPLC52XrXLeHGxpFyuxIsecV3KsyuIcZm92XN_gHu_5ACBg0sjxurU0Gd0KiFaKSNpjzHR1sTAuzbp6CDcVh1LWL35jUp5VZXZpF5W5mMBoR-USzTQ-YwLN1J5cj9tgUU7OLuJjEF2KXc8_7ywwjhYiAnTTKUNLefRz8FjWd8AGrvw/w400-h225/bttfmarty.jpg" width="400" /></span></a></div><p></p><p><span style="font-family: georgia;">Using the Original London Cast Recording, "Overture" is an abridged version of the film's 'overture' cue. The main film theme is also the melody to the chorus of "It's Only A Matter of Time". The theme gets a thrilling statement in "Don't Drive 88!" which hardly sounds like a typical Broadway score during the time travel sequence. "The Letter" features almost an exact copy of the same film cue. "The Clocktower" underscore sequence follows much of the film score, including Doc's theme and many other bits of Silvestri's iconic action cue. "Doc Returns" continues the film score almost exactly until a reprise of "It's Only A Matter of Time". </span></p><p><span style="font-family: georgia;">Underscoring dialogue and scene changes are common in musicals, but it's interesting just how much was used from the film score. Utilizing the film's music is more akin to theme park shows as Variety pointed out in their review: "Back to the Future will seem more fitting for a theme park than Broadway." It will be interesting to see if other shows follow this trend if they follow a very faithful adaptation to the stage.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHALXobUy-fdI0U6YO33hRDzyjyiAtPQ35BrhEl3oPsqWiFP4iEVM8NP4llrvntoadrFB9KvOXzPyCU1ln3uooyHq02H6LqgELpGJ8klnoMUidM2g0jMtnWLma26qa4M8y2q4OxW0coDRgEaWV73FmLuKGEPqQQ9IiXvBqwJ4FTn9ejrn8YQRXEjv8YrQ/s2045/bttfwintergarden.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1131" data-original-width="2045" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHALXobUy-fdI0U6YO33hRDzyjyiAtPQ35BrhEl3oPsqWiFP4iEVM8NP4llrvntoadrFB9KvOXzPyCU1ln3uooyHq02H6LqgELpGJ8klnoMUidM2g0jMtnWLma26qa4M8y2q4OxW0coDRgEaWV73FmLuKGEPqQQ9IiXvBqwJ4FTn9ejrn8YQRXEjv8YrQ/w400-h221/bttfwintergarden.png" width="400" /></span></a></div><p></p><p><span style="font-family: georgia;">Back to the Future the Musical opened in London's Adelphi Theatre in September 2021 and opened in Broadway's Winter Garden Theatre August 2023.</span></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Vrx3jdZuaUPbCLefsNEvq3S0QPNBQmtZ3ZNeWeJsy5ZCbwgjBN_zifJ_eVeWek66xro70XutwBQLgiAzqHDzsxH0BQnEOj4oE_ouwAEhKwChiF_903nlYxv4uLrW4z_Elcus0SNKfNENn_B85qRTm0QKi-lCmFGVWg_25UkbbRIjMAzP6KkLwfXAecM/s828/bttfcreators.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: georgia;"><img border="0" data-original-height="801" data-original-width="828" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Vrx3jdZuaUPbCLefsNEvq3S0QPNBQmtZ3ZNeWeJsy5ZCbwgjBN_zifJ_eVeWek66xro70XutwBQLgiAzqHDzsxH0BQnEOj4oE_ouwAEhKwChiF_903nlYxv4uLrW4z_Elcus0SNKfNENn_B85qRTm0QKi-lCmFGVWg_25UkbbRIjMAzP6KkLwfXAecM/w400-h388/bttfcreators.jpg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia;">Alan Silvestri, Bob Gale, Glen Ballard</span></td></tr></tbody></table></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-90058160656870885892023-09-09T16:03:00.001-05:002023-12-17T15:27:48.851-06:00The Batman Theme Returns<span style="font-family: georgia;">For the 80-plus year history of <b><span style="font-size: medium;">Batman</span></b>, there have been a few <b>main musical benchmarks</b> - 1960s Neal Hefti television theme, Danny Elfman's version in 1989 and Hans Zimmer/James Newton Howard's in 2005. <br /><br />But over the years, the music from Tim Burton's film by <b>Danny Elfman</b> has been most associated with the character and appearing all over media as recently as this year. I'm going to feature the film examples, but shout out to the television series and Lego Batman video games. Here are some of the film examples.<br /><br /><b><span style="font-size: medium;">Batman (1989)</span></b></span><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhItKgm6uYKLdWEia1Bw4TTntR2a2YOSgpPysq1eTjIr56wVIgVM5GIvqE5jW2yVmzEHiTcdQHcEjDfQ65M3kSArqAjYE5I0jH4-aZOkNLD7c0iIKNaNKAhvstgXLdzI0Mnsj81M5ntkcN1043mXoSfLgsQceR6shd4jYhrIxVhIopoptPfrEAgpqcuxog/s1920/batman_89.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhItKgm6uYKLdWEia1Bw4TTntR2a2YOSgpPysq1eTjIr56wVIgVM5GIvqE5jW2yVmzEHiTcdQHcEjDfQ65M3kSArqAjYE5I0jH4-aZOkNLD7c0iIKNaNKAhvstgXLdzI0Mnsj81M5ntkcN1043mXoSfLgsQceR6shd4jYhrIxVhIopoptPfrEAgpqcuxog/w400-h225/batman_89.png" width="400" /></a></div><span style="font-family: georgia;">Along with the production design, the music is one of the most defining features of Burton's gothic Gotham. Minor key mystery and bombastic fanfares define the Elfman Batman sound.</span><div><span style="font-family: georgia;"> <br /><b><span style="font-size: medium;">Batman Returns (1992)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKgqp8k0s_HFbcYEGsy1ZkrYnLKC7dXBbjtpQ4Gx48FpoWwuXktYLY04VTuKzu-mIyPFHUxZ9C2--qt0nVFeA-IWflcdx0yZvnwWP0nHhGANoSI_Dci_fOqDIEhGhf2Sgz114bdruqQUt5hXOGADOprQy6xKwtB-0fCefVS6jOAV1Lh-fsIB_p4BB_nk/s3840/batman_92.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="3840" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKgqp8k0s_HFbcYEGsy1ZkrYnLKC7dXBbjtpQ4Gx48FpoWwuXktYLY04VTuKzu-mIyPFHUxZ9C2--qt0nVFeA-IWflcdx0yZvnwWP0nHhGANoSI_Dci_fOqDIEhGhf2Sgz114bdruqQUt5hXOGADOprQy6xKwtB-0fCefVS6jOAV1Lh-fsIB_p4BB_nk/w400-h225/batman_92.png" width="400" /></a></div><span style="font-family: georgia;">Of course the sound continued into the sequel, this time using more Christmas motifs and emphasizing music of the villains. <br /><br /><b><span style="font-size: medium;">Justice League (2017)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYeahLbuQEo-qbHZtcNmlDmitfKR000wle3ZnpMMjK9kVCCYF21ozhnGXgoCaom0tu3S_kwEqHbBlwWgyugZVC4iKlDhaj1VqaRNkTeMaDLXnC31lAn4uKxnF4hijs5YrvLKfuzkOWk21BPpT8tTVtXeONfEgn13Vl33UWGRzUeoN8mq0FYB9t_sNElhw/s1920/batman_justice.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYeahLbuQEo-qbHZtcNmlDmitfKR000wle3ZnpMMjK9kVCCYF21ozhnGXgoCaom0tu3S_kwEqHbBlwWgyugZVC4iKlDhaj1VqaRNkTeMaDLXnC31lAn4uKxnF4hijs5YrvLKfuzkOWk21BPpT8tTVtXeONfEgn13Vl33UWGRzUeoN8mq0FYB9t_sNElhw/w400-h225/batman_justice.png" width="400" /></a></div><span style="font-family: georgia;">Elfman brought his Batman theme to the mix when Joss Whedon brought him on board. The theme notably appears in Batman entrances and fight scenes. He also incorporated the 1978 John Williams Superman theme and 2017 Zimmer/Junkie XL Wonder Woman theme. The Snyder Cut eliminated all the past musical references. </span></div><div><span style="font-family: georgia;"><b><br /></b></span></div><div><span style="font-family: georgia; font-size: medium;"><b>Teen Titans GO! To the Movies (2018)</b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBSwNxc3ExyvRjqS_30VJTUVAloTXOgMdBYF9OIAnookr8TS4-o8aWTAMHkv0eVk8VFKhKVergSaBGLr56FIWllLjFrAOdmH4n-YHcUUcUnCY0tPop_QMymeZcEw34CqjND4UUTv-2WcweMrqzo-CD9L2ZxNm4c3I8MLRoOoO_Jexfq3FeCdhI5qfQPbg/s1596/batman_teentitans.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="1596" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBSwNxc3ExyvRjqS_30VJTUVAloTXOgMdBYF9OIAnookr8TS4-o8aWTAMHkv0eVk8VFKhKVergSaBGLr56FIWllLjFrAOdmH4n-YHcUUcUnCY0tPop_QMymeZcEw34CqjND4UUTv-2WcweMrqzo-CD9L2ZxNm4c3I8MLRoOoO_Jexfq3FeCdhI5qfQPbg/w400-h225/batman_teentitans.png" width="400" /></a></div><span style="font-family: georgia;">In between all the DC film humor, Batman chases the Teen Titans and Elfman's theme appears.<br /><br /><b><span style="font-size: medium;">The Lego Movie 2: The Second Part (2019)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqg_uOs5h4RW2unqdmJRbiM4VM2vUdJIHX8hmdpQPNOkBME1S60Cs3Jz4h-Cs5U0mcIpBY0RflgjAZXmNtrNbm8nX2FmuieEaCL-6PVma3erIXkVpgGIi7-H5DwwxxaWSbisjrhJNUXFGrhggZTK1itFjyaVhG0EupMSUxpJ8iZz1IHCAUC3uvzV5Ry8Y/s1595/batman_legomovie2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="1595" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqg_uOs5h4RW2unqdmJRbiM4VM2vUdJIHX8hmdpQPNOkBME1S60Cs3Jz4h-Cs5U0mcIpBY0RflgjAZXmNtrNbm8nX2FmuieEaCL-6PVma3erIXkVpgGIi7-H5DwwxxaWSbisjrhJNUXFGrhggZTK1itFjyaVhG0EupMSUxpJ8iZz1IHCAUC3uvzV5Ry8Y/w400-h166/batman_legomovie2.png" width="400" /></a></div></div><div><span style="font-family: georgia;">We hear a sample of Elfman's theme during Batman's rap portion of "Gotham City Guys". <br /><br /><b><span style="font-size: medium;">Space Jam: A New Legacy (2021)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHwa2ZQWkeafmnR2mbPFtivvDWT2gMfwU5Rm_mx3Em6SEK057yb7i5xi6J4vHTaMfCDfAnylWLwj0rD5W5i4f85o8jN3rrJWMMYvfPt_0IXLRYMQ_4TJtv_-Bn34JmDjjRPbYvFxahKxRPWCfRhTMLQmrpEtX2fxzXQuzyA3V9nflMfJ3Zkj1N2xgYA6M/s1919/batman_spacejam.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1033" data-original-width="1919" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHwa2ZQWkeafmnR2mbPFtivvDWT2gMfwU5Rm_mx3Em6SEK057yb7i5xi6J4vHTaMfCDfAnylWLwj0rD5W5i4f85o8jN3rrJWMMYvfPt_0IXLRYMQ_4TJtv_-Bn34JmDjjRPbYvFxahKxRPWCfRhTMLQmrpEtX2fxzXQuzyA3V9nflMfJ3Zkj1N2xgYA6M/w400-h215/batman_spacejam.png" width="400" /></a></div></div><div><span style="font-family: georgia;">When LeBron enters the DC World, we see him as animated Robin with Bugs Bunny as Batman in the Batmobile. Naturally, we hear Elfman's theme.<br /><br /><b><span style="font-size: medium;">DC League of Super-Pets (2022)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1peqJnvfs1c8rQlcd38KyQyNKjhW4goBcndOw-9MC-9Yqt6l-BJCtNdwzkyRmoIEc_Z4u_WZNV6hpQdjWaYogWl7mRvjIGPqbwMB3gbFnRgXJatUff3vsTmkmShD9nhDTJ5KFKFysunPbJsa7VQa1TsrdcNjzkBstyIHlzOCj9ceR1XU6LoWKSgfcODI/s1597/batman_superpets.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1597" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1peqJnvfs1c8rQlcd38KyQyNKjhW4goBcndOw-9MC-9Yqt6l-BJCtNdwzkyRmoIEc_Z4u_WZNV6hpQdjWaYogWl7mRvjIGPqbwMB3gbFnRgXJatUff3vsTmkmShD9nhDTJ5KFKFysunPbJsa7VQa1TsrdcNjzkBstyIHlzOCj9ceR1XU6LoWKSgfcODI/w400-h168/batman_superpets.png" width="400" /></a></div></div><div><span style="font-family: georgia;">Steve Jablonsky's score incorporated several past themes for humorous character entrances, including 1978 Superman, 1970s TV Wonder Woman and Elfman's Batman theme.<br /><br /><b><span style="font-size: medium;">The Flash (2023)</span></b></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fw-2fEBZhKycsryI-Sew7hCvf1U_vEjvxB7bvqFP2zgXF6wEULNFvJVoUaVDVZPhxInOloFm_D2R3eg2SealqriyTwdWbfVwrikUH3L-ZPIXyMA5MSAhiuGn2WGacapMUnGgPSglxyiFRmgSuGKbSNL5gEeTEhnWX0yRtz3YXjnJL8cNy0DOCp0jF7E/s1593/batman_flash.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="841" data-original-width="1593" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fw-2fEBZhKycsryI-Sew7hCvf1U_vEjvxB7bvqFP2zgXF6wEULNFvJVoUaVDVZPhxInOloFm_D2R3eg2SealqriyTwdWbfVwrikUH3L-ZPIXyMA5MSAhiuGn2WGacapMUnGgPSglxyiFRmgSuGKbSNL5gEeTEhnWX0yRtz3YXjnJL8cNy0DOCp0jF7E/w400-h211/batman_flash.png" width="400" /></a></div>Returning to Michael Keaton's portrayal of Batman, the Elfman theme plays a large part in the second half of Benjamin Wallfisch's score.</span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-51966416280822047362023-08-10T11:00:00.001-05:002023-08-10T11:00:00.155-05:00Top 10 Scores Turning 20 in 2023<span style="font-family: georgia;">Back to our musical score time machine! For this edition, we're looking back to <b><span style="font-size: medium;">2003</span></b>! Quite the selections to choose from! Here's a look back at the scores of the year with my list of the <b><span style="font-size: large;">10 Best Scores Turning 20</span></b>!<br /><br />Let's start the ranking!<br /><br /><b><span style="font-size: large;">10. Cold Mountain (Gabriel Yared)</span></b></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigC142eGtf7UrTSPLV3aKxwqnKl7tVI-su2-WjzGC68VFRb5UJqud0DfpPJJxyLeiYFoJXq6mg_5EVh2wcySkbXhm2iWLpxxTmP1BZxqb7-je-pOIOTdUBCo3AaU93yCBDz8KHE0QLGwMAHI3DF8xouoC_jACHTHuPCesELjGFzB4bVvETzEKAwArDbeA/s455/03coldmountain.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="455" data-original-width="455" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigC142eGtf7UrTSPLV3aKxwqnKl7tVI-su2-WjzGC68VFRb5UJqud0DfpPJJxyLeiYFoJXq6mg_5EVh2wcySkbXhm2iWLpxxTmP1BZxqb7-je-pOIOTdUBCo3AaU93yCBDz8KHE0QLGwMAHI3DF8xouoC_jACHTHuPCesELjGFzB4bVvETzEKAwArDbeA/w200-h200/03coldmountain.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">More notice went to the song work by music producer T Bone Burnett than Yared's plaintive score. The melancholic music often relies on piano and strings with some lovely melodies. Thankfully the score was released in full in 2021.<br /><br /><b><span style="font-size: large;">9. The Core (Christopher Young)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZWSN8_JUBMq7iaQefiHI60KYsNOEGX1AieDA3Zmxjyy5o91sLfXUUmfNoPd0ZAelA8pFQ_ThJrJ7Y7y8pURrGkEFZt0CcJlKsN9K212VEP1EZCKqvr_A98ETkgIUa75RbgiTh9bhc5idvvOWkuSxixW78nVVx02HP4qwttvVG-ZJyEV-MgeZXE9HjjBM/s600/03core.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZWSN8_JUBMq7iaQefiHI60KYsNOEGX1AieDA3Zmxjyy5o91sLfXUUmfNoPd0ZAelA8pFQ_ThJrJ7Y7y8pURrGkEFZt0CcJlKsN9K212VEP1EZCKqvr_A98ETkgIUa75RbgiTh9bhc5idvvOWkuSxixW78nVVx02HP4qwttvVG-ZJyEV-MgeZXE9HjjBM/w200-h200/03core.jpeg" width="200" /></span></a></div><div><span style="font-family: georgia;">A larger-than-life score that is miles better than the film. Themes appear throughout, and often with an enormous choir and orchestra. Action and heroics sound like throwbacks to older scores in the disaster genre (and that's a great thing!)<br /><br /><b><span style="font-size: large;">8. Seabiscuit (Randy Newman)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAMxolvSk6VnqxD4O3GucoMsfmiVhEr6pruGsRZnGtzQw1Yy7vnFB4MgdNPjzNKGDqksJZfWIcyLmtWwUaupIcnnoVxqx_iJX3RI_CGFBCWf5l_4wrQHVzNJ8jOU_XAgRbJj8AidUHdh9b-Y3-1fLH2hMWQA34jUN-BeswwWYdE65QsNBN10HWwlkGicM/s1000/03seabiscuit.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1000" data-original-width="993" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAMxolvSk6VnqxD4O3GucoMsfmiVhEr6pruGsRZnGtzQw1Yy7vnFB4MgdNPjzNKGDqksJZfWIcyLmtWwUaupIcnnoVxqx_iJX3RI_CGFBCWf5l_4wrQHVzNJ8jOU_XAgRbJj8AidUHdh9b-Y3-1fLH2hMWQA34jUN-BeswwWYdE65QsNBN10HWwlkGicM/w199-h200/03seabiscuit.jpg" width="199" /></span></a></div><div><span style="font-family: georgia;">A heartwarming underdog story seems to fit Newman nicely with his characteristic Americana sound. We hear some fantastic solos for trumpet, guitar and flute amid the typical warm Newman sound. It's moving but never gets overly sentimental.<br /><br /><b><span style="font-size: large;">7. Big Fish (Danny Elfman)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhModaVp--9nSh2JDqo3DNM-5WVwNp1amRxe94zx7fiROFFMp9xy35f08ML-o057j6a1jvexhyh55PbhViZlVE1tx8343mFAwn4-hVEhwF1G9QBtSBykL8SOZdh9pLHvJ9ydn52sBaTOhJVoaiNQfc7V9W8HpSL2MuHnXpX24pT9WqpvcbLn_ebTuOjkFY/s316/03bigfish.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="316" data-original-width="316" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhModaVp--9nSh2JDqo3DNM-5WVwNp1amRxe94zx7fiROFFMp9xy35f08ML-o057j6a1jvexhyh55PbhViZlVE1tx8343mFAwn4-hVEhwF1G9QBtSBykL8SOZdh9pLHvJ9ydn52sBaTOhJVoaiNQfc7V9W8HpSL2MuHnXpX24pT9WqpvcbLn_ebTuOjkFY/w200-h200/03bigfish.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Elfman uses an interesting mix of styles for this Tim Burton film. Overall, it's more sentimental and subtle, with a bluegrass voice. The lyrical themes meet the whimsical fun in flashbacks. The motifs connect together in the gorgeous finale. <br /><br /><b><span style="font-size: large;">6. The Last Samurai (Hans Zimmer)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW7JI6p-SO8qGvGMVRDCGtESzc8LXjspWUaXBwSDXxUnAw6qcpE7ozm7SxcFNDDOjrOKlWMCrilaWbE6h9IuQqHw7A1ZB_bwABOhOBH8tTulaB6wgE2YUoJOPuyifBlW395BJUMUgWW4bxVlCcs9YxNYerX0tu31COEqG5hZ4fi6rgrAyDSJudGtdBQfg/s1000/03lastsamurai.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1000" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW7JI6p-SO8qGvGMVRDCGtESzc8LXjspWUaXBwSDXxUnAw6qcpE7ozm7SxcFNDDOjrOKlWMCrilaWbE6h9IuQqHw7A1ZB_bwABOhOBH8tTulaB6wgE2YUoJOPuyifBlW395BJUMUgWW4bxVlCcs9YxNYerX0tu31COEqG5hZ4fi6rgrAyDSJudGtdBQfg/w200-h200/03lastsamurai.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Lush strings and haunting Japanese instrumentation with some restrained action dot Zimmer's score. The melodies work nicely, even with some similarities to other work. The score works with Edward Zwick's epic film, and an emotional highlight for Zimmer. <br /><br /><b><span style="font-size: large;">5. The Matrix Revolutions (Don Davis)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU4y22otO-ICbJI8aPRhif3BrM53lXwrLIl2tuA-7VrWJ_4HulUpjHf84Olk6426Mcrv06zAY-F1HqbG8K6M9U80oqTbqMyMeFQ5RQJQyw-2DH5i1aBXeNDmYQI6kU-THyDzJQ3HCAsyWkeYh5k-80M-RcyId57FVbdFEZ889Sv_V_Bys-ihNx0tjFuD8/s300/03matrix.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU4y22otO-ICbJI8aPRhif3BrM53lXwrLIl2tuA-7VrWJ_4HulUpjHf84Olk6426Mcrv06zAY-F1HqbG8K6M9U80oqTbqMyMeFQ5RQJQyw-2DH5i1aBXeNDmYQI6kU-THyDzJQ3HCAsyWkeYh5k-80M-RcyId57FVbdFEZ889Sv_V_Bys-ihNx0tjFuD8/w200-h200/03matrix.jpeg" width="200" /></span></a></div><div><span style="font-family: georgia;">The scores have grown even larger for each film in the trilogy. We get more minimalistic and atonal stylings, wild orchestral techniques, Juno Reactor continued collaboration, emotional and action climaxes - the powerful choral Neodammerung being the highlight.<br /><br /><b><span style="font-size: large;">4. Peter Pan (James Newton Howard)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQL4u05-4QIS2i-hJYAMJwwSRfMcuHybqKM5ffY369Ao5I9PYGc2cvMJdkp7YAAXkC5C84Xe-p71OvGFz3bluSWuaW7UL_AP258C-1SouOfHjOCXqJmeOAzy-Xy_VgswqUVAyZr_HfIdgCdobWmJ3EL5i6y_AqLeS8PcR5J09it0ANM2T6AP9u-9iQSk/s1000/03pan.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1000" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQL4u05-4QIS2i-hJYAMJwwSRfMcuHybqKM5ffY369Ao5I9PYGc2cvMJdkp7YAAXkC5C84Xe-p71OvGFz3bluSWuaW7UL_AP258C-1SouOfHjOCXqJmeOAzy-Xy_VgswqUVAyZr_HfIdgCdobWmJ3EL5i6y_AqLeS8PcR5J09it0ANM2T6AP9u-9iQSk/w200-h200/03pan.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Scores for Pan are always chock-full of action, drama, suspense, swashbuckling and flying themes. Right from the titles, JNH adds lilting themes with choir and celeste and enchanting moments throughout the score. His stunning flying cue also adds drums and synths that surprisingly helps the score take off.<br /><br /><b><span style="font-size: large;">3. Sinbad: Legend of the Seven Seas (Harry Gregson-Williams)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTTHJWkRzXhyzgl0Y1L94YDixhm7JqZ7HtrkZqdaEMjUo2yn8pUDTZac7wOqrJpsI6pELpANZdJHw6rOoXO1--ytK8jmyPOyRpK6qykdLAMzNBe1-Fj-2GRL8WXN2Eqz46T--Se0iQ5o66RrHl_iE2wkKKtYka-H--z_2H7904je_6XdMIflPHWinAZ2w/s1200/03sinbad.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1200" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTTHJWkRzXhyzgl0Y1L94YDixhm7JqZ7HtrkZqdaEMjUo2yn8pUDTZac7wOqrJpsI6pELpANZdJHw6rOoXO1--ytK8jmyPOyRpK6qykdLAMzNBe1-Fj-2GRL8WXN2Eqz46T--Se0iQ5o66RrHl_iE2wkKKtYka-H--z_2H7904je_6XdMIflPHWinAZ2w/w200-h200/03sinbad.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Continuing his success in animation, Gregson-Williams' music shows off light hearted action, female vocal highlights and swashbuckling fun. The rousing orchestral themes add to one of the best early DreamWorks scores for this sadly forgotten film.<br /><br /><b><span style="font-size: large;">2. Finding Nemo (Thomas Newman)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXD-uwW439m0QZ7tZAY5GSlh91ytPFjHdWXXC5meyWhKK_YOu32extUq0Wb-_L_g6LglSy6I3O02vGyLv-BJltUlsRGOsaGOqaFdmKoG3qTNK6hoZ7OQfFeGuE2mQKTC57QNCUUrXSqr8Ey7e9VBJPUQCO3fZ_gzvJPvnKEDEJgMhu1XTH7iNsqmclQzI/s599/03nemo.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="599" data-original-width="599" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXD-uwW439m0QZ7tZAY5GSlh91ytPFjHdWXXC5meyWhKK_YOu32extUq0Wb-_L_g6LglSy6I3O02vGyLv-BJltUlsRGOsaGOqaFdmKoG3qTNK6hoZ7OQfFeGuE2mQKTC57QNCUUrXSqr8Ey7e9VBJPUQCO3fZ_gzvJPvnKEDEJgMhu1XTH7iNsqmclQzI/w200-h200/03nemo.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Pixar changed musical tones completely to Thomas Newman after a string of scores by Randy Newman. Nemo has all the lovely orchestration and writing of a "serious" film combined with the wonder and whimsy of the underwater world. His sparingly used main theme is a great match for the film. Newman's work here is only matched by his later work for Wall-E.<br /><br /><b><span style="font-size: large;">1. Lord of the Rings - The Return of the King (Howard Shore)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPWQMHei3CvqkExyrrlXqOz1H27xzel7rSryMuT6U2m7uKuLhCMuVtuhh-zjo9ielJ7ZB_Ldx9nuWi5uMnyggSI0ZJRsT_RmxcyvKISzJyJG3y80tv4qYyK-2wD6QeKbsUloe1u2LmLu5YpVcgmjh_sw3qTUwLr6vzRQJ3XaSkux0tAvvpn8yHA7z4sE8/s1000/03lotr.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1000" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPWQMHei3CvqkExyrrlXqOz1H27xzel7rSryMuT6U2m7uKuLhCMuVtuhh-zjo9ielJ7ZB_Ldx9nuWi5uMnyggSI0ZJRsT_RmxcyvKISzJyJG3y80tv4qYyK-2wD6QeKbsUloe1u2LmLu5YpVcgmjh_sw3qTUwLr6vzRQJ3XaSkux0tAvvpn8yHA7z4sE8/w200-h200/03lotr.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Shore's monumental trilogy ends with a fantastic score - building with new majestic themes and revisiting past themes with urgency and devastation. It also features some of the grandest battle music, sweeping action and most emotional moments. Thus ends one of the best film/score collaborations.<br /><br /><br /><b>Honorable Mentions:</b><br />Elf (John Debney), Girl with the Pearl Earring (Alexandre Desplat), Looney Tunes Back in Action (Jerry Goldsmith), Love Actually (Craig Armstrong), X2 (John Ottman)</span><div><span style="font-family: georgia;"><br />Any personal favorites of yours from 2003 that I didn't include?</span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-66977330243134952012023-07-02T20:33:00.001-05:002023-07-02T20:33:31.286-05:00Music Behind the Ride - Mickey's PhilharMagic<p><span style="font-family: georgia;">In this <b><u><span style="color: #990000;">Music Behind the Ride</span></u></b>, I wanted to look at a current music-based attraction located in almost all the Disney parks - <b><span style="font-size: large;">Mickey's PhilharMagic</span></b>. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifu8nghTRj-33l9GpRnCL0tej1i3_B5CuqLgqxLGexjdKTSNj-E9bhHrYHkV7dk8IAnKcYlh4OrkXFA2pFubfqk2H78NO6wei47Jdg4Ymqt3WBGWf5wWc1sx4bxsldDdfgdffyJvV_DstubRWvBMdxuJvpHV0HHuZ6G1GcxPKAs0IJXvXg5yzWR57jLNA/s1140/mickey_poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1140" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifu8nghTRj-33l9GpRnCL0tej1i3_B5CuqLgqxLGexjdKTSNj-E9bhHrYHkV7dk8IAnKcYlh4OrkXFA2pFubfqk2H78NO6wei47Jdg4Ymqt3WBGWf5wWc1sx4bxsldDdfgdffyJvV_DstubRWvBMdxuJvpHV0HHuZ6G1GcxPKAs0IJXvXg5yzWR57jLNA/w281-h400/mickey_poster.jpg" width="281" /></a></div><span style="font-family: georgia;"><b>Mickey's PhilharMagic</b> is a 4-D theater show featuring the antics of Donald Duck, Mickey's sorcerer's hat from </span><i style="font-family: georgia;">Fantasia </i><span style="font-family: georgia;">and musical selections from popular Disney animated films. </span><p></p><p><span style="font-family: georgia;">Here's the rundown of the show - Mickey Mouse is advertised in concert with his PhilharMagic Orchestra. The lobby is lined with past concert posters, with background music playing classical selections from <i>Fantasia </i>and instrumental Disney songs. You also pick up your 3D "opera glasses" before entering the theater.</span></p><p><span style="font-family: georgia;">We hear Goofy doing some finishing touches as the stage manager and then Minnie gives us the pre-show spiel. They hurriedly begin the show before realizing Donald and the orchestra are missing. Mickey comes onstage to a sleeping Donald, telling him to get the orchestra ready and "don't touch my hat". </span></p><p><span style="font-family: georgia;">Donald pulls all the instruments out of a crate before stepping on the podium with baton in hand. As he sneakily puts on the sorcerer's hat, the instruments come to life and begin to tune and play snippets of songs. He calls them to attention and they play in cacophony - one piccolo bounces around performing the <span style="color: #0b5394;">"Mickey Mouse Club March"</span> which he then throws into the audience and boomerangs back to him. Getting angry, he tries to stomp on the piccolo which brings all the instruments above him and swirl around him in a cloud of smoke. We hear a minor version of the march as Donald and instruments go flying around into a vortex.</span></p><p><span style="font-family: georgia;">After a moment of darkness, we see the familiar flame of Lumiere as he sings the first verse of <span style="color: #0b5394;">"Be Our Guest"</span>. Donald is sitting at the table and sees the sorcerer's hat bounce by on a dish. We also get a few smells piped into the auditorium as food is shown. The song continues into the finale with popping champagne bottles represented with air bursts in the theater. Donald crashes into a pile of dishes.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LJDF8hzV9Uc3LlPFkshqA6gJZ8PM6gwzP0CBIMdzm2sUyEwdSlMmMXTOnjPruRKq3Gh-1jUfm5S4g51ohJmsX6kmB8GY4PjNlbWMpeol1TPiPwktbgyeXorxUeGBkaeXIVqz9cM_gQXXxRf2vCriSszoU2T6ewXDW5fADlQDofcM-4otkYOSYL5--7U/s618/mickey_lumiere.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="618" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LJDF8hzV9Uc3LlPFkshqA6gJZ8PM6gwzP0CBIMdzm2sUyEwdSlMmMXTOnjPruRKq3Gh-1jUfm5S4g51ohJmsX6kmB8GY4PjNlbWMpeol1TPiPwktbgyeXorxUeGBkaeXIVqz9cM_gQXXxRf2vCriSszoU2T6ewXDW5fADlQDofcM-4otkYOSYL5--7U/w400-h161/mickey_lumiere.png" width="400" /></a></div><p></p><p><span style="font-family: georgia;">A door opens as the brooms from <i>Fantasia </i>enter carrying their buckets, and naturally we hear <span style="color: #0b5394;">"The Sorcerer's Apprentice"</span>. They splash Donald with their water buckets and one gigantic broom takes his revenge with a splash sending him to the next sequence.</span></p><p><span style="font-family: georgia;">We're now underwater in Ariel's grotto. The hat floats by Flounder as Ariel begins an abbreviated <span style="color: #0b5394;">"Part of Your World"</span> - now singing it to Donald in scuba gear. As the song ends, he is ready to kiss Ariel, but gets zapped by an electric eel. The opening of her grotto transitions into the bright sun of the next sequence.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0xcJOi7XybvXnxMv3WgSxImvvdO6u7G9YRzumjseWzTp4trVI3UDgYQGBxw_aYtxdx2RzjgtMVrUigPMsoEwHvfg-HHoIlCcTJ96WDer9NNF71GtlO6iGvlOcfR8n1_jfUoJUuPHHTzj2qfxE01l5-dv1NVx42Y6P2sRz5EB7Joc8gxRGQSzSMkwGDU/s1597/mickey_ariel2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="1597" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0xcJOi7XybvXnxMv3WgSxImvvdO6u7G9YRzumjseWzTp4trVI3UDgYQGBxw_aYtxdx2RzjgtMVrUigPMsoEwHvfg-HHoIlCcTJ96WDer9NNF71GtlO6iGvlOcfR8n1_jfUoJUuPHHTzj2qfxE01l5-dv1NVx42Y6P2sRz5EB7Joc8gxRGQSzSMkwGDU/w400-h111/mickey_ariel2.png" width="400" /></a></div><p></p><p><span style="font-family: georgia;">We jump into Simba and Zazu singing <span style="color: #0b5394;">"I Just Can't Wait to Be King"</span>. Donald continues to catch the hat on and among stylized 2D animals. We transition into the Land of the Dead and see Miguel singing<span style="color: #0b5394;"> "Un Poco Loco"</span> with H<span face="sans-serif" style="background-color: white; color: #202122;">é</span>ctor. We see Donald chase alebrije Dante before take taking off into the sky with Pepita. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-EwBaOsb9T5CgivwX6aLEvV_Trj6eWcdQcXSoTfOn0zd8k1vPnQAvTKnZ7bW1MRNFBnUsU9Jxwi94DmkGJ5AmLGZgwRjctOvpC_P31KbB9U5DsLR7iTDXeV--ddhu2FgFiUVXXBvhfDLwwy4F3t6ecnp_zolum3w65Yk9nqAItW5egnt2SANnRGZkFr0/s860/mickey_coco.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="860" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-EwBaOsb9T5CgivwX6aLEvV_Trj6eWcdQcXSoTfOn0zd8k1vPnQAvTKnZ7bW1MRNFBnUsU9Jxwi94DmkGJ5AmLGZgwRjctOvpC_P31KbB9U5DsLR7iTDXeV--ddhu2FgFiUVXXBvhfDLwwy4F3t6ecnp_zolum3w65Yk9nqAItW5egnt2SANnRGZkFr0/w400-h186/mickey_coco.jpg" width="400" /></a></div><p><span style="font-family: georgia;">Over the sky we see Tinker Bell flying over Big Ben, with Peter Pan landing on the clock with the sorcerer's hat. Sprinkled with pixie dust, Donald flies over London to a snippet of <span style="color: #0b5394;">"You Can Fly"</span>. We then see the Flying Carpet with Prince Ali and Jasmine singing <span style="color: #0b5394;">"A Whole New World"</span>. Donald chases after them on second carpet, running into Agrabah stalls. As he pulls next to the couple, Jasmine places the sorcerer's hat on Donald, right before Iago knocks it off. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5x2XUk-jTbapXJQmWgPp8_Kkk3IQN80aexq8hU9pYXQwYiVRDUEWyyo-ngNdVTeq0jUdgxywmhrxn2a2fguzYL3uD8XycF91CD0I0hpCqkrH4fTvhoEaNTNGnTa---QMqTJYJ5DmLZsjjb9RVtAOUKQ_zEZ4y_zxqV6R06Rpv-v3hDLAjpoXqFkyoDTs/s860/mickey_aladdin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="860" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5x2XUk-jTbapXJQmWgPp8_Kkk3IQN80aexq8hU9pYXQwYiVRDUEWyyo-ngNdVTeq0jUdgxywmhrxn2a2fguzYL3uD8XycF91CD0I0hpCqkrH4fTvhoEaNTNGnTa---QMqTJYJ5DmLZsjjb9RVtAOUKQ_zEZ4y_zxqV6R06Rpv-v3hDLAjpoXqFkyoDTs/w400-h186/mickey_aladdin.jpg" width="400" /></a></div><p></p><p><span style="font-family: georgia;">Donald is sent back into the instrument vortex and Mickey takes control, landing all the instruments back in place. Together they finish the <span style="color: #0b5394;">"Mickey Mouse Club March"</span> as Donald is launched from a tuba past the screen. In the theater's back wall, we see an animatronic rear end of Donald stuck in the wall and falling into the rubble. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNeNkRt8CAAYDeXkfTkmkPX-MA5ynQ9pRQqjUK8eYOUh_pcJjz4Oj6rtQ-KiLZHrPFY3qkc6PQ7HwBWy_QLv8jzqOXFclZ_lTH8HBgpXyJXWamsdFDCAAFcFMfuPqHaoovSNPik0iw4a1afS0dvwcIpNzp3Hsy551HnwoRAV2cgyAgMHm9t3a7C6ruB8/s1250/mickey_conduct.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="712" data-original-width="1250" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNeNkRt8CAAYDeXkfTkmkPX-MA5ynQ9pRQqjUK8eYOUh_pcJjz4Oj6rtQ-KiLZHrPFY3qkc6PQ7HwBWy_QLv8jzqOXFclZ_lTH8HBgpXyJXWamsdFDCAAFcFMfuPqHaoovSNPik0iw4a1afS0dvwcIpNzp3Hsy551HnwoRAV2cgyAgMHm9t3a7C6ruB8/w400-h228/mickey_conduct.png" width="400" /></a></div><p></p><p><span style="font-family: georgia;">The attraction opened first in 2003 at Walt Disney World's Magic Kingdom, in the same theater originally used for the music themed<a href="http://musicbehindthescreen.blogspot.com/2020/05/music-behind-ride-wizarding-world-of.html"> Mickey Mouse Revue</a>. Hong Kong Disneyland's version opened with the park in 2005. The show opened in 2011 at Tokyo Disneyland (sung in Japanese), replacing the 26 year run of the Mickey Mouse Revue. It arrived at Disneyland Paris in 2018 in their 3D/4D Discoveryland Theatre. It then arrived in Disney California Adventure in 2019, appearing in Hollywood Land.</span></p><p><span style="font-family: georgia;">While featuring original soundtracks, the show mainly reused Clarence Nash's archival audio for Donald Duck. Starting 2021, the <i>Coco </i>sequence was added to California Adventure, Paris, Tokyo and Magic Kingdom. </span><span style="font-family: georgia;">Being a musical revue, there was never an official album release until 2011 Tokyo Disneyland's album. It features the opening, Japanese songs and exit music.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFclFy6Irl_1_CXy6w37u_sJBQG2Zibe88LwwP2srRGDIo221kUqpWn5s2K6PbLdJut29hAWB0kfOrigsDpQb3YSaE8FMcpmqp9yziSHd0wJeAlT2JN4tnoWhyHaY1dShPhG7OJVquiunCVh8E5pRqEc8Tz8Azc_z9AtDxrXAdlBkfr3Fa7S55hstwE9A/s2560/mickey_sign.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="2560" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFclFy6Irl_1_CXy6w37u_sJBQG2Zibe88LwwP2srRGDIo221kUqpWn5s2K6PbLdJut29hAWB0kfOrigsDpQb3YSaE8FMcpmqp9yziSHd0wJeAlT2JN4tnoWhyHaY1dShPhG7OJVquiunCVh8E5pRqEc8Tz8Azc_z9AtDxrXAdlBkfr3Fa7S55hstwE9A/w400-h300/mickey_sign.jpg" width="400" /></a></div><p></p><p><span style="font-family: georgia;">The show brings a creative spark to Mickey and Donald, while reimagining scenes from <i>Beauty and the Beast</i>, <i>Fantasia</i>, <i>The Little Mermaid</i>, <i>The Lion King</i>, <i>Coco</i>, <i>Peter Pan</i> and <i>Aladdin</i>. It's a delightful show for all ages, especially those that love Disney music. </span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-14377948844255753902023-06-20T22:15:00.001-05:002023-06-23T16:38:01.044-05:00Top 10 Scores Turning 30 in 2023<p><span style="font-family: georgia;">Back to our musical score time machine! For this edition, we're looking way back to <b><span style="font-size: large;">1993</span></b>! Here's a look back at the scores of the year with my list of the <b><span style="font-size: large;">10 Best Scores Turning 30</span></b>!</span></p><p><span style="font-family: georgia;">Let's start the ranking!</span></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">10. True Romance (Hans Zimmer)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbydDfpE_CY77jNsPIaii4lt5jSjaaUg6akNvXMttHyFyYxMAsomdRnBjqHSWMASGurN2ySKkumOE0xgGfp6juHedqbmJRU21X1c44mdLR5yX9MUTyepraxXXSCnw6prJoindUhs3AH-CTz1seTDOcf0w4fam_OEgOF-UECFxSiYGxwfBDYpCP1ndUV8Y/s640/93_true.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbydDfpE_CY77jNsPIaii4lt5jSjaaUg6akNvXMttHyFyYxMAsomdRnBjqHSWMASGurN2ySKkumOE0xgGfp6juHedqbmJRU21X1c44mdLR5yX9MUTyepraxXXSCnw6prJoindUhs3AH-CTz1seTDOcf0w4fam_OEgOF-UECFxSiYGxwfBDYpCP1ndUV8Y/w200-h200/93_true.jpg" width="200" /></a></div><p></p><p><span style="font-family: georgia;">Repeating through the film, you hear the "You're So Cool" theme. Its use is an homage to Badlands (1973) and an arrangement of Gassenhauer from the Orff Schulwerk - but it somehow works in this wild comedy/romance/crime Tony Scott film. </span></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">9. Searching for Bobby Fischer (James Horner)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ypNflZPYIGS9bfL3AcKMNH47A4_TwzJQt-QKAhGomWUllAxp9U5NhjnY1dEQIwHeXAYElDXlozn1cnsFAPEDsiMbyVvSKCv3-z9NXtr5B-lh6aCyDDwGu9DXN5kIiUG8vpAp2uboQ42Z-BHipdkHhQZ6yXEZt6t9VxySrpbTJLUF8JHG31k9dP1P99o/s640/93_bobby.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ypNflZPYIGS9bfL3AcKMNH47A4_TwzJQt-QKAhGomWUllAxp9U5NhjnY1dEQIwHeXAYElDXlozn1cnsFAPEDsiMbyVvSKCv3-z9NXtr5B-lh6aCyDDwGu9DXN5kIiUG8vpAp2uboQ42Z-BHipdkHhQZ6yXEZt6t9VxySrpbTJLUF8JHG31k9dP1P99o/w200-h200/93_bobby.jpg" width="200" /></a></div><p></p><p><span style="font-family: georgia;">A lovely Horner score featuring wistful themes on woodwinds and piano. It's a smaller dramatic score, but with all the careful brushstrokes. The finale is a standout, and you hear the "genius" music which has appeared in future Horner scores. </span></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">8. The Piano (Michael Nyman)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWF9NtjrBN1lnOmTpziFmquH06WTGLGsC9ks35UAN9j0sv8Dz90Ff223eiSZC5VwssgfYNWXp-FMq_clDhDU4mnjIcubTKKND87IeUDqo_jzg4ytTKgFEDYUx20LVVAm6sBrifs38RSE8C-NJKI8rwW5NgsubTWBqxNZsEIY2T2m3OKL9PBqxFdVBCRg4/s303/93_piano.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="303" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWF9NtjrBN1lnOmTpziFmquH06WTGLGsC9ks35UAN9j0sv8Dz90Ff223eiSZC5VwssgfYNWXp-FMq_clDhDU4mnjIcubTKKND87IeUDqo_jzg4ytTKgFEDYUx20LVVAm6sBrifs38RSE8C-NJKI8rwW5NgsubTWBqxNZsEIY2T2m3OKL9PBqxFdVBCRg4/w200-h198/93_piano.jpg" width="200" /></a></div><p></p><p><span style="font-family: georgia;">Nyman composed a generally minimalist (but warm) score for Jane Campion's lovely film. It's unobtrusive, flowing through scenes with its gorgeous flowing piano solos and featured woodwinds. Even more surprising is the success the album had - going gold and platinum.</span></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">7. The Fugitive (James Newton Howard)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjStxikJ7dFGoU2K1bavNLUGYdk326W0kwigrA5uEhXfoGZL6Guef8yIY6U92JOZd29barGcJXazihsJ_MzhuV5uxVANahmrMVb-JdlNMqsUgJVQMikYxYwCfyZDk4KLWLXQhiXsDhuYYFr1EPgJalQlmljk9QF5eOQnKExKNq4ivEl3GphHPS63teMals/s400/93_fugtive.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="399" data-original-width="400" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjStxikJ7dFGoU2K1bavNLUGYdk326W0kwigrA5uEhXfoGZL6Guef8yIY6U92JOZd29barGcJXazihsJ_MzhuV5uxVANahmrMVb-JdlNMqsUgJVQMikYxYwCfyZDk4KLWLXQhiXsDhuYYFr1EPgJalQlmljk9QF5eOQnKExKNq4ivEl3GphHPS63teMals/w200-h199/93_fugtive.jpg" width="200" /></a></div><p></p><p><span style="font-family: georgia;">The jagged rhythms in the suspense and action cues keep these score memorable - it's effective in the thriller and action territories. He uses synths and percussion in the forefront, shown in cues like the explosive Helicopter Chase. </span></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">6. Gettysburg (Randy Edelman)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlGU8xgKFTSxkg9Lfk_fB_y66q0VGOs8jUMHwzNi9O_Rgvzro6lmbMkjVn8SZf4LRh_0RGckoy312O9kjV97_dzClWveHMzRSpet2xejtcKyUMyF3divvKcoF1NlPw54tQ9HVvNp6t7b9ih9OmJfpGLlXdwB38-S1hDeUaR95JiRhjQ5eamBbJSmdFBFQ/s640/93_gettysburg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlGU8xgKFTSxkg9Lfk_fB_y66q0VGOs8jUMHwzNi9O_Rgvzro6lmbMkjVn8SZf4LRh_0RGckoy312O9kjV97_dzClWveHMzRSpet2xejtcKyUMyF3divvKcoF1NlPw54tQ9HVvNp6t7b9ih9OmJfpGLlXdwB38-S1hDeUaR95JiRhjQ5eamBbJSmdFBFQ/w200-h200/93_gettysburg.jpg" width="200" /></a></div><p></p><p><span style="font-family: georgia;">The rousing main theme matches the sweeping Civil War epic and ranks with Edelman's finest. His battle music generally keeps the momentum, while giving some quieter moments to guitar. His use of synths are an interesting choice for the time/budget, and might discourage some listeners. </span></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">5. Tombstone (Bruce Broughton)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW68qMtpqkGN9GXrm0tFpUFfUt9ywYFS8Ixe7B-B1jTgo4syyC_oEuH-IaMEB96SLEyQmHiVSYZxuKkjILOmFwgG8bHZqmhmob3BiGrYBnxcufCBLk00a8OzoeCl22X2aStp6GcqjJCOS9-iSRGBdCg3TIvpqog5uI9s22GqAWIrwNGylBo__gCbFSkp0/s400/93_tombstone.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="395" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW68qMtpqkGN9GXrm0tFpUFfUt9ywYFS8Ixe7B-B1jTgo4syyC_oEuH-IaMEB96SLEyQmHiVSYZxuKkjILOmFwgG8bHZqmhmob3BiGrYBnxcufCBLk00a8OzoeCl22X2aStp6GcqjJCOS9-iSRGBdCg3TIvpqog5uI9s22GqAWIrwNGylBo__gCbFSkp0/w198-h200/93_tombstone.jpg" width="198" /></a></div><p></p><p><span style="font-family: georgia;">Another killer western score like Silverado before it. Broughton shines with a strong main theme, love theme, gritty action and darker moments. The score elevates the film's drama and violence of the OK Corral. </span></p><p><span style="font-family: georgia;"><span style="font-size: large;"><b>4. Rudy (Jerry Goldsmith)</b></span><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTU01JBHnmtNOvKEcC6gtA0yulCGRX90rL9m3hd9HM5pqaxFWOsFeD52E5WSVVSaKBq3pj7PcVMwQHsA28d34MFVJBcqsEtAA71V1N-rvCT6EWHnVBYtxriFcN7A2IrijnBcxuV2XCZkiAC9Hcw4RTc2UhVILR6fkEmpCmPqFHoGdkXA9sZWMOYpSIXRQ/s640/93_rudy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTU01JBHnmtNOvKEcC6gtA0yulCGRX90rL9m3hd9HM5pqaxFWOsFeD52E5WSVVSaKBq3pj7PcVMwQHsA28d34MFVJBcqsEtAA71V1N-rvCT6EWHnVBYtxriFcN7A2IrijnBcxuV2XCZkiAC9Hcw4RTc2UhVILR6fkEmpCmPqFHoGdkXA9sZWMOYpSIXRQ/w200-h200/93_rudy.jpg" width="200" /></a></div><p></p><p><span style="font-family: georgia;">After Hoosiers, Goldsmith brings his best to stronger sports drama. The score crosses between the lovely Irish-themed main theme and thrilling game theme. Both themes stand out in his filmography as slightly simple but incredibly effective and memorable. </span></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">3. The Nightmare Before Christmas (Danny Elfman)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUakG4yatbZArl1oqkwiDacOyMui-vqX0o_3Y8iild06O97EnnZlicHMXuCL8VyHu-LA6XWe0ep6MLcenBxAAUP8CJHIOcNlReH260SJctYsxr7u-BFMt36P7QF6WHeFaxp04fTUm_vngJlC9DNXIXJdeeWveve44xcEvkpTvMJHwN_fFuE4j1smFeIck/s640/93_nbc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUakG4yatbZArl1oqkwiDacOyMui-vqX0o_3Y8iild06O97EnnZlicHMXuCL8VyHu-LA6XWe0ep6MLcenBxAAUP8CJHIOcNlReH260SJctYsxr7u-BFMt36P7QF6WHeFaxp04fTUm_vngJlC9DNXIXJdeeWveve44xcEvkpTvMJHwN_fFuE4j1smFeIck/w200-h200/93_nbc.jpg" width="200" /></a></div><p></p><p><span style="font-family: georgia;">A perfect match of music and vision - Elfman's knack for kooky melodies are on full display in the songs (which he wrote and sang). It's hard to imagine the film without Elfman's style of writing and the fun arrangements/orchestrations. The score blends the Halloween and Christmas worlds and breathes life into the characters.</span></p><p><span style="font-family: georgia;"><span style="font-size: large;"><b>2. Jurassic Park (John Williams) </b></span><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhZn_cEm1yVBiZzkIsLTzft2dNOuyi62BMcQ7UcKISf0Qh9T05ARbE1GWwOG2_4F0t6_lhWrMkxsFr-CHG3C_APlCycU9hBQs1GKXaJ1axp54zWqYl7TQCJJ2RHHdKNcnYM0lDqjzBZEH4NtW--a4YRTL_dnmDW9ZL8iKQWl3CxMPVkXEhkryiH2h7buA/s640/93_JP.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="635" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhZn_cEm1yVBiZzkIsLTzft2dNOuyi62BMcQ7UcKISf0Qh9T05ARbE1GWwOG2_4F0t6_lhWrMkxsFr-CHG3C_APlCycU9hBQs1GKXaJ1axp54zWqYl7TQCJJ2RHHdKNcnYM0lDqjzBZEH4NtW--a4YRTL_dnmDW9ZL8iKQWl3CxMPVkXEhkryiH2h7buA/w199-h200/93_JP.jpg" width="199" /></a></div><p></p><p><span style="font-family: georgia;">I'm drawn to the bombast and majesty that Williams can offer - and both are on display. He is able to expertly juggle the action and horror aspects of the island, but capture the awe and wonder of the dinosaurs. His main theme (and adventure theme) easily gets added to the list of his most famous works. </span></p><p><span style="font-family: georgia;"><b><span style="font-size: large;">1. Schindler's List (John Williams)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBUWzPgP9UJtEEdCcAm4svWS2435AgEHbLxMUDNzxv0UTIbGJfeaMAjLdCwrKqIAD-sDtMPBbrg_rcfTYiEaluONFU2_AuVUlJ77s_IyNI8ihM8xoDiGjvoUfzaEXSTq1J3YWrYYm60P2VaZzXVIxHyA6civ9ks5WOXLnsxpvWtKGjBFWiAL0rSNRdUcU/s300/93_schindler.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="299" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBUWzPgP9UJtEEdCcAm4svWS2435AgEHbLxMUDNzxv0UTIbGJfeaMAjLdCwrKqIAD-sDtMPBbrg_rcfTYiEaluONFU2_AuVUlJ77s_IyNI8ihM8xoDiGjvoUfzaEXSTq1J3YWrYYm60P2VaZzXVIxHyA6civ9ks5WOXLnsxpvWtKGjBFWiAL0rSNRdUcU/w199-h200/93_schindler.jpg" width="199" /></a></div><p></p><p><span style="font-family: georgia;">Williams transports listeners with evocative violin solos performed by Itzhak Perlman. Often restrained and underscored, the score is known for its heartbreaking main theme, but there is more moving and dramatic moments outside of that. As the film garnered much praise and awards, it's no surprise Williams was honored for his contribution. </span></p><p><span style="font-family: georgia;"><br /><b>Honorable Mentions:</b><br />Addams Family Values (Marc Shaiman), Dave (James Newton Howard), The Firm (Dave Grusin), Hocus Pocus (John Debney), Indecent Proposal (John Barry), The Three Musketeers (Michael Kamen)</span></p><p><span style="font-family: georgia;">Any personal favorites of yours from 1993 that I didn't include? </span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-23595330748344523222023-05-31T17:45:00.002-05:002023-05-31T17:45:20.563-05:00Quick Review: The Little Mermaid<span style="font-family: georgia;"><span style="font-size: large;"><b>The Little Mermaid</b></span><br /></span><div><span style="font-family: georgia;">Score by <b>Alan Menken</b></span></div><div><span style="font-family: georgia;">Lyrics by Howard Ashman</span></div><div><span style="font-family: georgia;">New Lyrics by Lin-Manuel Miranda</span></div><div><span style="font-family: georgia;">Additional Music by Julian Kershaw, Michael Higham, Jeff Morrow, Aaron Kenny</span></div><div><span style="font-family: georgia;">Vocal Arrangements and Additional Song Arrangements by Michael Kosarin</span></div><span style="font-family: georgia;">Total album running time: Regular 40 minutes, Deluxe 78 minutes<br />Available on Walt Disney Records</span><div><span style="font-family: georgia;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_uJ1BDuKxPokYqyaXwKHRNWq6SgbADfKQsMw-k3Ji4aUUV2S0pSB2ItTfCRtkfCK0nrtm1W7t01NWoLLWXQyWJzWX1xlxxzFqt6VgFV9MOxb3jFAT5lUqhHJjDSF6HhuFhrG7PVNzn0xGDAKEULdu0K2_EPYrRjT9q88i4dTe_MIjApxpyOS7SBfT/s1280/Little-Mermaiddeluxe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1280" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_uJ1BDuKxPokYqyaXwKHRNWq6SgbADfKQsMw-k3Ji4aUUV2S0pSB2ItTfCRtkfCK0nrtm1W7t01NWoLLWXQyWJzWX1xlxxzFqt6VgFV9MOxb3jFAT5lUqhHJjDSF6HhuFhrG7PVNzn0xGDAKEULdu0K2_EPYrRjT9q88i4dTe_MIjApxpyOS7SBfT/s320/Little-Mermaiddeluxe.jpg" width="320" /></a></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Of course we all know the Disney renaissance masterpieces by Menken and Ashman: <i>The Little Mermaid</i> (1989), <i>Beauty and the Beast</i> (1991) and <i>Aladdin </i>(1992). We've now seen all of them get the live-action remake treatment in 2023, 2017 and 2019, respectively. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Like before, Alan Menken returns with an updated score, with new arrangements and new renditions of familiar songs. Skipping past anything from the Broadway adaptation, we get 3 new songs by Menken and Lin-Manuel Miranda. From the original film, they've sadly cut Daughters of Triton and Les Poissons. A new song for Triton, Impossible Child, was also cut.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">With the deluxe version, it's just the soundtrack and then 22 score tracks - I've decided to go in album order rather than the corrected film order.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Triton's Kingdom</b> has rippling string patterns accompanying parts of Part of Your World and Ariel's siren. We hear string runs and some great female vocals as we journey through the underwater environment. Halle Bailey provides a thrilling new rendition of <b>Part of Your World</b>, showing off her vocal range with added flair among a lush new orchestral arrangement. <b>Fathoms Below</b> begins with an original score callback to "Fireworks", as we meet Prince Eric's ship and crew partying. The shortened song is given a sea chanty arrangement. Bailey gives a lovely rendition of <b>Part of Your World (Reprise)</b>, and in the interlude we get a few statements of the melody from Wild Uncharted Waters.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Under the Sea</b> expands the calypso vibe with Daveed Diggs' charming vocal. The orchestral arrangement seems simplified and never reaches the full "hot crustacean band" he promises. The Ariel harmonies are sweet but seem out of character, and the film version has a lively underwater dance break that didn't make the soundtrack. <b>Wild Uncharted Waters</b> is the new standout ballad for Prince Eric, incorporating Ariel's siren. Melissa McCarthy provides a delightfully campy version of <b>Poor Unfortunate Souls</b>, even if the middle section has been cut. New song <b>For the First Time</b> gives us Ariel's inner thoughts in her human world montage - creatively using a original film motif also used in Broadway's "Beyond My Wildest Dreams". <b>Kiss the Girl</b> uses a simplified calypso arrangement with only the supporting characters adding harmony. <b>The Scuttlebutt</b> has been getting the attention of the internet as the "worst Disney song" using Miranda's need to add some fast lyrics cramming some exposition for Scuttle and Sebastian.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Eric's Decision</b> opens with parts of Wild Uncharted Waters and builds with the siren call. <b>Vanessa's Trick</b> continues the siren call before it turns into the Poor Unfortunate Souls reprise as we reveal Vanessa's true identity. The new section, <b>Part of Your World (Reprise II)</b> adds more pathos to Ariel's choices with some subtle cello and violin solos. <b>Kiss the Girl (Island Band Reprise)</b> is a charming calypso source cue. <b>Finale </b>is primarily the Part of Your World melody building to a choral climax with Wild Uncharted Waters mixed in. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Opening Title</b> has the rippling water motif with Ariel's siren. <b>Eric's Ship</b> features churning strings with rising brass chords. <b>Shipwreck Graveyard</b> has some mysterious underscoring with some lighthearted rippling motif for woodwinds. <b> Shark Attack</b> lets the orchestra rip with banging percussion, brass clusters and wild strings before settling down with the siren motif. <b>Dinglehopper </b>brings some excitement with Scuttle and later a sprightly version of the siren. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">In <b>Ursula's Reveal</b> we hear some fun rubbed percussion and creepy string effects - much more sinister than before. <b>Ariel's Grotto</b> has some nice string and choral moments with the siren. <b>Shipwreck </b>again lets the orchestra shine with bits of the original's Storm reused. The calm returns in <b>The Rescue</b>, using part of Eric's Uncharted Waters theme. <b>Triton's Fury</b> builds on the ripple motif as Triton destroys her human artifacts. <b> Journey to Ursula</b> continues a variation of Ariel's siren in tremolo strings and hints of Poor Unfortunate Souls. The eerie Ursula sounds continue with later string attacks and brass jabs. <b>Ursula's Lair</b> uses an woodwind ostinato through the track with string harmonics. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Eric's Library</b> is a lovely track for strings and harp using fragments of Wild Uncharted Waters but never sounds far from Part of Your World. <b>Carriage Ride</b> brings an exciting take of statements of Wild Uncharted Waters and For the First Time. <b>Marketplace </b>is calypso steel drums with trumpet solo and later with the melody of Kiss the Girl. <b>Ursula's Potion</b> uses some creepy low strings/woodwinds and choir. <b>Ariel Regains Her Voice</b> charges ahead as they battle Vanessa's shell away as her siren call making a full appearance returning to Ariel. <b>The Sun Sets</b> rises up to some stings and dramatic moments.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Ursula Battle</b> continues the dissonance but picks up the orchestral action with swirling strings and large brass presence and we do get bits of Poor Unfortunate Souls and Wild Uncharted Waters among the commotion. <b>Metamorphosis </b>uses a string figure and builds with brass and choir. <b>The Kiss</b> is a lovely reprise of Wild Uncharted Waters before a phrase of Part of Your World. The same themes are intertwined in the sentimental <b>Ariel's Goodbye</b>.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">I'm glad they released the deluxe edition with score, but you really do need to put it in film order for it to make sense. Disney does love to frontload the soundtracks with the songs so you don't have to find them. Menken's original melodies are still the Disney gold standard and his team of co-composers work them into the underscore, but not as much as Menken used to. The song arrangements fit this version, although I was often wishing for a bit more. The underscore is still prominent, bigger and dramatic, but still gives time to reflective instrumental solos, and calypso source music. Put the album in order and get transported under the sea for some of Menken's best melodies.</span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-56961526170303194992023-05-06T12:42:00.001-05:002023-05-31T17:45:29.489-05:00Andrew Lloyd Webber on Screen<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhkRW-j018543rgR80aAK2bOjWZiOxdxYoHJVCL5MztiOY24BSczmtS1z180Z-bs29xoAXUugxyyUjOzBw40eLy9KtanE98LLMvvLUpyDMRWd6RJQxegFOc2apyjYgv2ahPqV2ekBZruwng_4-ijGUx8QqwnPgtzCkv3Iiq7beDGwba0cRKdhEOEd3/s1200/alw.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhkRW-j018543rgR80aAK2bOjWZiOxdxYoHJVCL5MztiOY24BSczmtS1z180Z-bs29xoAXUugxyyUjOzBw40eLy9KtanE98LLMvvLUpyDMRWd6RJQxegFOc2apyjYgv2ahPqV2ekBZruwng_4-ijGUx8QqwnPgtzCkv3Iiq7beDGwba0cRKdhEOEd3/w400-h266/alw.jpg" width="400" /></span></a></div><p><span style="font-family: georgia;">Throughout his theatrical writing career, <b><span style="font-size: large;">Andrew Lloyd Webber</span></b> has become a household name. He is known for his extremely popular hit musicals worldwide, but I wanted to take a look at the film adaptations over the years.</span></p><p><span style="font-family: georgia;"><b><span style="color: #674ea7; font-size: medium;">Jesus Christ Superstar (1973)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDbt2KaxMVcrV5FT_b8jKkNxbdQCNS6-xh-aMZXINZvZVa0R-efWHti7dUw5Ixutvg46bR1Y_VrTMz3v0A-h1WVB1xs6rpFaCqqtogYECbef_Kv9XarphokR3eEeUgvvLwSEdOP2NVKqzuFFi7yAe92FAXbTjqn8M3CGP3LW408aQKyKjkeJpng0aL/s1358/jesus-christ-superstar.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="582" data-original-width="1358" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDbt2KaxMVcrV5FT_b8jKkNxbdQCNS6-xh-aMZXINZvZVa0R-efWHti7dUw5Ixutvg46bR1Y_VrTMz3v0A-h1WVB1xs6rpFaCqqtogYECbef_Kv9XarphokR3eEeUgvvLwSEdOP2NVKqzuFFi7yAe92FAXbTjqn8M3CGP3LW408aQKyKjkeJpng0aL/w400-h171/jesus-christ-superstar.jpg" width="400" /></a></div><span style="font-family: georgia;">The Lloyd Webber and Tim Rice musical started life as rock opera album before turning into a hit on Broadway and in London. For the film, several Broadway cast members returned along with all the original songs with the new song, "Then We Are Decided". The film was nominated at the Oscars for Best Original Song Score and/or Adaptation (Andrew Lloyd Webber, André Previn and Herbert W. Spencer) </span><p></p><p><span style="font-family: georgia;"><b><span style="color: #674ea7; font-size: medium;">Evita (1996)</span></b></span></p><p><span style="font-family: georgia;"><span style="color: #674ea7; font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><span style="color: #674ea7; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaCuGNf5jT9CSB18R-uB2OqIAezPpZQhdJjLrEmZBWLsPkRQ8G1frD3-2PoyKKkA-vqJRL5ffTDk3aKjnw_WqylsFfdPgJSxho5cMtW9Rix1SN6rRRyIS8An8x5K30cL2XL_7UnBUDOYPAqwCQF6fExToQ5YKOugFA2QMz1bGFFfrTdUb3ATVnOk-h/s314/evita.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="161" data-original-width="314" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaCuGNf5jT9CSB18R-uB2OqIAezPpZQhdJjLrEmZBWLsPkRQ8G1frD3-2PoyKKkA-vqJRL5ffTDk3aKjnw_WqylsFfdPgJSxho5cMtW9Rix1SN6rRRyIS8An8x5K30cL2XL_7UnBUDOYPAqwCQF6fExToQ5YKOugFA2QMz1bGFFfrTdUb3ATVnOk-h/w400-h205/evita.jpg" width="400" /></a></span></span></div><span style="font-family: georgia;">After years of stalled adaptations, Lloyd Webber and Rice's 1978 London/1979 Broadway hit finally made it to the big screen with Madonna in the lead role. Most of the original songs carried over, and also included "The Lady's Got Potential" from the 1976 concept album. With a rewrite of the last half, director Alan Parker reunited ALW and Rice after years of falling out. The song became "You Must Love Me", which won Andrew Lloyd Webber and Tim Rice the Oscar and has since been added to subsequent live productions.</span><p></p><p><b style="font-family: georgia;"><span style="color: #674ea7; font-size: medium;">The Phantom of the Opera (2004)</span></b></p><p><b style="font-family: georgia;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXWL_XJwpeSb48XvSRQpBlQDPnrhLd-CB30F6vv7-0KSZ7mgtuzMjURzFomOv5AiPyfK83uP0Uath9mFpVjP9VxJfGCz5_j5f_6qJd3FMEdGhVPQqwKIQlerWh32DOi9z0T3KleIGaDvBtbWrIoLT1KQVw1EQQXYb9z5-MS4ECZKKatTg9EVktN1LU/s600/phantomopera.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="327" data-original-width="600" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXWL_XJwpeSb48XvSRQpBlQDPnrhLd-CB30F6vv7-0KSZ7mgtuzMjURzFomOv5AiPyfK83uP0Uath9mFpVjP9VxJfGCz5_j5f_6qJd3FMEdGhVPQqwKIQlerWh32DOi9z0T3KleIGaDvBtbWrIoLT1KQVw1EQQXYb9z5-MS4ECZKKatTg9EVktN1LU/w400-h217/phantomopera.jpg" width="400" /></a></b></div><span style="font-family: georgia;">After taking London by storm in 1986 and Broadway in 1988 and years of development, Phantom arrived in the movie theater. The film added more backstory and pathos, but was generally disliked by critics. The Phantom was given a new ballad, titled "No One Would Listen". After the song was cut, the melody was used for the end credits song "Learn to be Lonely" with new lyrics by Charles Hart. The song was nominated for Best Song at the Oscars.</span><p></p><p><span style="font-family: georgia;"><b><span style="color: #674ea7; font-size: medium;">Cats (2019)</span></b></span></p><p><span style="font-family: georgia;"><span style="color: #674ea7; font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><span style="color: #674ea7; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5V5IEnkbjm7AzJP75mmdYv-56GklHmuDkjFPFt6MR0Pd4ewqW6s799jRf719yDpLVY_3GgUwTlokf3iAkYSUpMPY51EayEhwFUlhN-LB0GkvJdcrCS1NArGz9QpnmA8Tqe2evYIIxVw9efvi0lLX3YpONCZqWvxyhA5_UNqKUdRzJgNSA_DI_SXW-/s1600/cats.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="668" data-original-width="1600" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5V5IEnkbjm7AzJP75mmdYv-56GklHmuDkjFPFt6MR0Pd4ewqW6s799jRf719yDpLVY_3GgUwTlokf3iAkYSUpMPY51EayEhwFUlhN-LB0GkvJdcrCS1NArGz9QpnmA8Tqe2evYIIxVw9efvi0lLX3YpONCZqWvxyhA5_UNqKUdRzJgNSA_DI_SXW-/w400-h168/cats.jpg" width="400" /></a></span></span></div><p></p><p><span style="font-family: georgia;">It's hard to sum up what director Tom Hooper did with this London and Broadway hit. The musical numbers are generally untouched. The film elaborated on Victoria, and she is given a new ballad "Beautiful Ghosts", written by ALW and Taylor Swift. (Swift appears as Bombalurina and sings the end credits version). Lloyd Webber has since disowned the critical and box office bomb. However, the new song was nominated for the Golden Globe and Grammy awards. <br /></span></p><p><span style="font-family: georgia;">One of the more successful ventures for Lloyd Webber were the direct-to-video and television versions. They vary in quality, but are faithful versions of the original theatrical shows. Soon after the London closure, <b>Song and Dance </b>was filmed live for television in 1984. In a streak, we've gotten <b>Cats (1998)</b>, <b>Joseph and the Amazing Technicolor Dreamcoat (1999)</b>, <b>Jesus Christ Superstar (2000)</b>, <b>By Jeeves (2001)</b>. <b>The Phantom of the Opera at the Royal Albert Hall </b>celebrated the show's 25th anniversary with a staged production shown in theaters and home video in 2011. The Phantom sequel, <b>Love Never Dies</b> was filmed live in Australia also 2011 for home video. In 2018, NBC aired <b>Jesus Christ Superstar Live in Concert</b>. It won Outstanding Variety Special (Live) at the Emmys, giving Andrew Lloyd Webber and Tim Rice EGOT status. <br /><br /></span></p><p><span style="font-family: georgia;">For his non-theatrical work, Lloyd Webber has written two film scores.</span></p><p><span style="font-family: georgia;"><b><span style="color: #674ea7; font-size: medium;">Gumshoe (1971)</span></b><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1NrlbYkT2FY01H3fBUd4QbkwdRYwxoxrmDwUqhEPW8T6uVn8tVYZftcbyslyzjZnJ2Dm9n2dw6LAa1LTEwPCqYN5RhdKHz_rh1Ea-cMFG81QRe9-7R7PZ_4UvhtnvtP83S7U0UXXbjQJjy8SxLvM_P4gK_kBUxqw64bH2XAciM82LDwo3olXpFGCY/s1280/gumshoe.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1NrlbYkT2FY01H3fBUd4QbkwdRYwxoxrmDwUqhEPW8T6uVn8tVYZftcbyslyzjZnJ2Dm9n2dw6LAa1LTEwPCqYN5RhdKHz_rh1Ea-cMFG81QRe9-7R7PZ_4UvhtnvtP83S7U0UXXbjQJjy8SxLvM_P4gK_kBUxqw64bH2XAciM82LDwo3olXpFGCY/w400-h225/gumshoe.jpg" width="400" /></a></div><p></p><p><span style="font-family: georgia;">A noir-like black comedy follows Albert Finney getting himself in too deep while wishing he was a 1940's private eye. There isn't much original music, but one melody became the title song in Sunset Boulevard decades later. He also wrote the source song "Baby, You're Good for Me" with Tim Rice. There has been no official soundtrack release.</span></p><p><span style="font-family: georgia;"><b><span style="color: #674ea7; font-size: medium;">The Odessa File (1974)</span></b></span></p><p><span style="font-family: georgia;"><span style="color: #674ea7; font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><span style="color: #674ea7; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd0gG9wk7rtmLyNSoVXH32Z2sZcUPyPccq158LM9yHzPI_j503tgxoNaG4EjBjsXD8sawJiU22ih0iwZnJs49WVTR_BAwCQlTHFDvTN8PT-LVRmBa7GsQLnKjol8mYsbK-1v9XAB8Roas0dt8afuxmMgWQ4itOWAlcdw5yXKAm2RUDwqfGMptREX-F/s345/odessafile.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="146" data-original-width="345" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd0gG9wk7rtmLyNSoVXH32Z2sZcUPyPccq158LM9yHzPI_j503tgxoNaG4EjBjsXD8sawJiU22ih0iwZnJs49WVTR_BAwCQlTHFDvTN8PT-LVRmBa7GsQLnKjol8mYsbK-1v9XAB8Roas0dt8afuxmMgWQ4itOWAlcdw5yXKAm2RUDwqfGMptREX-F/w400-h169/odessafile.jpg" width="400" /></a></span></span></div><span style="font-family: georgia;">This thriller has Jon Voight tracking down neo-Nazis in 1960s Germany. Again, music is sparse, except for some electronic suspense and chase music and Miller's theme which eventually was reused in Evita as "Art of the Possible". ALW and Rice also wrote the song "Christmas Dream" sung by Perry Como as source music and used other times in the score.</span><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-30728866327092857252023-04-13T16:30:00.004-05:002023-04-13T16:30:51.070-05:00Quick Review: The Super Mario Bros Movie<p><span style="font-family: georgia;"><b style="font-size: x-large;">The Super Mario Bros. Movie</b><span style="font-size: large;"><b><br /></b></span></span><span style="font-family: georgia;">Music composed by</span><span style="font-family: georgia;"> </span><span style="font-family: georgia;"><b>Brian Tyler<br /></b></span><span style="font-family: georgia;">Original Nintendo themes by <b>Koji Kondo</b><br /></span><span style="font-family: georgia;">Score conducted by Brian Tyler<br />Score recorded at Warner Bros Studios - Eastwood Stage<br /></span><span style="font-family: georgia;">Album running time: 87 minutes<br /></span><span style="font-family: georgia;">Available on Back Lot Music</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-pesyEbRAsYrK0BMlY3-FMjSRvAdrxCNfVj5vGQHCn094vEf4-Zitmx9EEhgrVzJuKGKgeXnrB1Cdsxo6xGpsGpTPP3WgOdi3tkbxpxbN38v0nbkXSotNS70a7fbZtKIE6As8qFyqD6909TmuNE9oAeJbWhRFyh8vZk-DypD2DslHrpnW1MTgzwlv/s600/mario.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-pesyEbRAsYrK0BMlY3-FMjSRvAdrxCNfVj5vGQHCn094vEf4-Zitmx9EEhgrVzJuKGKgeXnrB1Cdsxo6xGpsGpTPP3WgOdi3tkbxpxbN38v0nbkXSotNS70a7fbZtKIE6As8qFyqD6909TmuNE9oAeJbWhRFyh8vZk-DypD2DslHrpnW1MTgzwlv/w320-h320/mario.jpeg" width="320" /></a></div><p></p><div><span style="font-family: georgia;">Here we go! Of course the music of the Mario games is iconic as the characters. As part of the references and major nostalgia, there are tons of classic Mario themes used. I'm sure Mario music experts will be digging through the soundtrack second-by-second even more than I tried to do. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Thankfully, <b>Brian Tyler</b> added his own themes into the Mario universe - a theme for Mario & Luigi, Peach, Donkey Kong and of course over-the-top villain theme for Bowser. Tyler was able to blend the new and old themes together into a cohesive listening experience that is just plain fun for Nintendo fans. I'm going into the album track-by track and seeing what's in store.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Super Mario Bros. Opus</b> is a suite of the main Tyler material, with little snippets of classic Kondo bits. Right after the classic Mario theme opening, we get the peppy new Mario Bros theme (which I think is intentionally written to mix nicely with the game theme). Next is the grand Peach/Mushroom Kingdom theme and a quiet, piano-led section for Peach and Mario before returning to the Peach theme with choir layered with the Super Star motif. We transition into the menacing Bowser music which plays a large part in score. The Mario theme returns and builds to a big finish and a wink to classic Mario. It's a great album suite, full of what Tyler has to offer.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Next up is <b>Press Start</b> - Mario's theme is right upfront with some light orchestration with some 8-bit sound effects and overlays of Kondo motifs - the best moment is the orchestra speeding up after we hear the classic Hurry Up motif with the Super Star and Death motifs to close the track. <b>King of the Koopas</b> brings a militaristic rhythm to Airship and Bowser's theme, in addition to some serious villain writing and a rock interlude. <b>Plumbin' Aint Easy</b> brings the cheerful Mario theme back with some orchestral flourishes. <b>It's a Dog Eat Plumber World</b> starts off with a cool jazz version of Super Mario 3's Ground before jumping into some big hits and charging strings and choir. We get a bit of tension building in <b>Saving Brooklyn</b> with drums and strings.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>The Warp Pipe</b> begins with some suspense and bits of the original Underground motif before taken over by choir and racing strings. <b>Strange New World</b> starts with original Mario theme in choir. A change of orchestration brings us Captain Toad's theme (heard prominently in Super Mario 3D World), and later a brief statement of Bowser's theme and fanfare version of the Castle theme (Mario 64). <b>The Darklands</b> explores the darker side of Bowser's kingdom and features plenty of references in the mix including Deep Dark Galaxy (Galaxy), Fortress (Super Mario 3), Ghost House (Super Mario World) and dark version of music from Luigi's Mansion. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Welcome to the Mushroom Kingdom</b> references original Mario themes (Fossil Falls from Odyssey, Mario Bros 3, World, Super Mario Bros, Galaxy and 64) at a breakneck speed - it's an amazing feat to blend them together. <b>2 Player Game</b> lets the new Mario theme shine, first on solo violin followed by the whole orchestra with little interludes of the original Mario theme. Bits of the Mushroom Kingdom theme appear and eventually Bowser's theme stomps in which is then replaced by a large reprise of Mario's theme with the classic theme mixed in. <b>The Mushroom Council</b> jumps around with styles, but includes Bowser's theme, Mushroom Kingdom and a nod to Peronza Plaza from Odyssey. <b>The Plumber and the Peach</b> leads with Tyler's original themes and builds up to Mario's theme.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Platforming Princess</b> naturally gives Peach's theme a workout ending with the classic flag Course Clear. <b>World 1-1</b> uses a strong version of Mario's theme with classic Mario sprinkled in. The theme gets a little waltz variation and at this point, the new theme is definitely stuck in your head and feels like it belongs alongside the original game music. <b>The Adventure Begins</b> starts right off with the Course Clear motif, Castle theme (64) and the Mushroom Kingdom theme in various fanfares with Bowser's theme near the end of the track. Bowser sits at a piano singing <b>Peaches</b>, it's pretty funny moment that works better in theater than on album.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Lost and Crowned</b> is used in some of the quieter moments, with Peach's backstory. <b>Imprisoned </b>features more ominous Bowser material and some light underscoring moments. </span><span style="font-family: georgia;">The change of location in <b>Courting the Kongs</b> gives us jungle percussion and serious version of Jungle Hijinx from Donkey Kong Country. The fun jungle rhythms continue in <b>Drivin' Me Bananas</b>, with Mario's theme getting a jungle rock variation. The percussion and chants continue in <b>Rumble in the Jungle</b>, with plenty of thrilling fanfares of Peach and Mario's themes. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">The next bunch of tracks feature the Mario Kart race. We start off with <b>Karts!</b> featuring a great reference to the kart selection from Mario Kart 8 before really kicking it into gear with Tyler's signature rock drums with Mario's theme. In the middle of the race, we cut to Bowser's wedding speech "rehearsal" in <b>Practice Makes Perfect</b>. Buckle Up builds back up the race leading into the classic Rainbow Road music combined with Mario and Peach's themes. <b>Rainbow Road Rage</b> brings Bowser's theme into the action which keeps ratcheting up the tension leading up to a heroic Mario theme right before leading into the next track. <b>Blue Shelled</b> has some fantastic choir moments with running strings and the original Tyler themes in some new variations.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>An Indecent Proposal</b> naturally combines Peach and Bowser's themes, with a few comic moments tossed in the middle of the over-the-top drama. <b>The Belly of the Beast</b> sees our heroes in....the belly of a beast, not before escaping with a heroic Mario fanfare. <b>Fighting Tooth and Nail</b> is the first Bowser fight and it culminates in a bunch of game themes like the ending of Super Mario Bros, the Airship (Mario 3), lively remix of Ground (Super Mario Bros), Athletic (Mario 3) and even some Galaxy mixed with Tyler's Mario theme.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Tactical Tanooki</b> builds back up the frantic pace as Mario flies in his raccoon suit away from Banzai Bill. Next up is the <b>Mario Brothers Rap</b>, their commercial heard also earlier in the film (originally from The New Super Mario Brothers Super Show). The big battle continues in <b>Grapple in the Big Apple</b>. The sweeter moments between Mario and Luigi are a highlight.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Superstars </b>brings back the Super Star motif combined with Mario's theme in the big finale of their boss battle with Bowser. <b>The Super Mario Brothers</b> reprises Mario and Peach's themes. <b>Bonus Level</b> is from the end credit scene features a bit of mystery with jungle drums and flute and then a Mario theme reprise. <b>Level Complete</b> is the beginning of the credits with a payload of classic Mario themes like Super Mario Bros theme, Super Mario Bros 2 Overworld theme, Underground, Captain Toad, Super Mario Bros 3 Bonus, Underwater theme, Castle motif from Super Mario World and Gusty Garden Galaxy from Mario Galaxy before ending with one finale statement of Tyler's Mario theme. The arrangements are a blast! </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">The film and score are pure fun. There's almost 40 years worth of nostalgic Mario music that Brian Tyler and Koji Kondo were able to [lovingly] cram into the film. The album is a bit out of order and has some music not used in the film - not to mention the now infamous pop songs instead of score. The large orchestra is cranked up to the max throughout the whole film - Tyler is known for his rock style orchestra that really shines here. His new material also gets lots of play, but fits brilliantly into the Nintendo world - his Mario theme is one of the catchiest he's written since Iron Man 3 in my opinion. It's a sugary-sweet score to a candy of a film, already liked by fans of all ages. </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-11185055146072838912023-03-03T15:40:00.002-06:002023-03-03T15:40:31.850-06:00Spotlight On...Marvel Phase Four<p><span style="background-color: white;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="background-color: white;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Eg4OjhFDPxOgWyJzkFakP50w-jf3FVPcgFdBznJNySi4_R83-tMo89TOwDc7vyuhHysKCfWQ1gOgO1yXT39pG6it4uNPXzDqoE1rWwjebAYOYJz29mX-0RbQpvT5iR-coERz3ufSAz5Q-cepPv_UYWsh2bPYnSpZSvYwbIHYQrD0OnhOKBCbbcq7/s1920/marvelphase4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Eg4OjhFDPxOgWyJzkFakP50w-jf3FVPcgFdBznJNySi4_R83-tMo89TOwDc7vyuhHysKCfWQ1gOgO1yXT39pG6it4uNPXzDqoE1rWwjebAYOYJz29mX-0RbQpvT5iR-coERz3ufSAz5Q-cepPv_UYWsh2bPYnSpZSvYwbIHYQrD0OnhOKBCbbcq7/w640-h266/marvelphase4.jpg" width="640" /></a></span></div><span style="background-color: white;"><span><span style="font-family: "georgia" , "times new roman" , serif; line-height: 18px;">This edition of </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; font-weight: bold; line-height: 18px;">Spotlight On </span></span><span style="background-color: transparent; font-family: "georgia" , "times new roman" , serif;">takes a look back at <span style="color: #cc0000;"><b>Phase Four</b></span> of the <b>Marvel Cinematic Universe</b>. In this phase we get new composers with some returning favorites, a few MCU missteps and a grab bag of returning themes.</span></span><p></p><span style="background-color: white; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 16px; line-height: 22px;"></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="line-height: 18px;"><b>Black Widow (2021)</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><b>Music by Lorne Balfe</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;">Balfe finally gives Black Widow her own theme - a moving piece that appears in several serious and action settings. His villain material covers Dreykov, Taskmaster and the Red Room with slithering electronics and dark choir. The Russian choral and traditional instrumentation add a nice touch to the score. <span style="color: #990000;">(Just listen to: Natasha's Lullaby, Fireflies, Yelena Belova, Natasha Soars</span></span></span><span style="color: #990000;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 18px;">) </span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><br /></span></span><span style="background-color: white; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 16px; line-height: 22px;"></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="line-height: 18px;"><b>Shang-Chi and the Legend of the Ten Rings (2021)</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><b>Music by Joel P. West</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;">In his highest profile score to date, West was able to blend the Marvel sound with a Chinese ensemble. The instrumentation stands out among the lyrical moments (which end up being better than the battle music). Shang-Chi's theme is present through much of the score, as is the villain Wenwu - a variation of the same theme. These main themes layer together, much like themes for mother Ying Li and sister Xialing. <span style="color: #990000;">(Just listen to: Xu Shang-Chi, Your Mother, The Waterfall, Ancestors</span></span></span><span style="color: #990000;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 18px;">) </span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><br /></span></span><span style="background-color: white; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 16px; line-height: 22px;"></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="line-height: 18px;"><b>Eternals (2021)</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><b>Music by Ramin Djawadi</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; line-height: 22px;"><span style="line-height: 18px;"><div>Djawadi returns to the MCU with a more orchestral and dramatic score. For themes, there's the overarching Eternals theme and foreboding Celestials theme but they don't stand out too much within the film. There's more mystical aspects, and the score features more somber moments than action. <span style="font-family: "georgia" , "times new roman" , serif; line-height: 22px;"><span style="line-height: 18px;"> <span style="color: #990000; font-size: 16px;">(Just listen to: Eternals Theme, Not Worth Saving, Across the Oceans of Time, This Is Your Fight Now</span></span></span><span style="background-color: transparent; color: #990000;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 18px;">) </span></span></div></span></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><br /></span></span><span style="background-color: white; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 16px; line-height: 22px;"></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 18px;"><b><span style="font-size: medium;">Spider-Man: No Way Home (2021)</span></b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><b>Music by Michael Giacchino</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;">Giacchino finished out his trilogy by returning to several of his themes - the Spidey theme, Doctor Strange theme, the love theme and a brief Mysterio appearance from <i>Far From Home</i>. For this film, he adds a theme representing loss, hope, and an multi-use villain theme. With the multiverse opening, we also get plenty of slapped in past references from other Spider-Man films with music by Danny Elfman, Hans Zimmer and James Horner. <span style="color: #990000;">(Just listen to: </span></span></span><span style="color: #990000;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; line-height: 18px;">Gone in a Flash, Sling vs Bling, Shield of Pain, Arachoverture</span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 18px;">) </span></span><br /><br /><span style="background-color: white; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 16px; line-height: 22px;"></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 18px;"><b><span style="font-size: medium;">Doctor Strange in the Multiverse of Madness (2022)</span></b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><b>Music by Danny Elfman</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;">Giacchino's original Doctor Strange theme makes a few cameos, as does Elfman's expansion of the theme for Wanda from <i>Age of Ultron</i>. Elfman gives Strange a new theme, but gets overshadowed by Wanda's thematic material which is allowed to go full monstrous. America Chavez's material is also heard a few times in pivotal moments. Elfman's music for the musical fight is a blast, as is the several music cameos that were released as bonus tracks. <span style="color: #990000;">(Just listen to: Multiverse of Madness, Cup of Tea, Lethal Symphony, The Illuminati, Main Titles</span></span></span><span style="color: #990000;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 18px;">) </span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><br /></span></span><span style="background-color: white; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 16px; line-height: 22px;"></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="line-height: 18px;"><b>Thor: Love and Thunder (2022)</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><b>Music by </b></span></span><b><span style="font-family: "georgia" , "times new roman" , serif;">Michael Giacchino and Nami Melumad</span></b><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;">Thor gets (another) new theme with a few electronic references to the style from <i>Ragnarok</i>. This theme also represents Jane's Mighty Thor while the villainous Gorr gets an ominous motif that doesn't stand out from the orchestral textures. It's important to note that themes were by Giacchino with score by Giacchino and collaborator Nami Melumad. <span style="color: #990000;">(Just listen to: Mama's Got a Brand New Hammer, Gorr Animals, The Zeus Fanfares, The Ballad of Love and Thunder</span></span></span><span style="color: #990000;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 18px;">) </span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><br /></span></span><span style="background-color: white; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 16px; line-height: 22px;"></span><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: medium;"><span style="line-height: 18px;"><b>Black Panther: Wakanda Forever (2022)</b></span></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;"><b>Music by </b></span></span><span style="font-family: georgia, times new roman, serif;"><b>Ludwig Göransson</b></span><br /><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 22px;"><span style="line-height: 18px;">Göransson builds on the musical textures from his Oscar-winning score. He continues collaborating with African vocalists and percussionists, mixing his style into his past themes. We hear Black Panther's theme, Wakanda theme, Dora Milaje's motif. He adds in a new theme for Shuri and dramatic theme for Namor - incorporating Mayan musical touches and instrumentation. <span style="color: #990000;">(Just listen to: Imperius Rex, Wakanda Forever, Yibambe!, T'Challa</span></span></span><span style="color: #990000;"><span style="background-color: white; font-family: "georgia" , "times new roman" , serif; font-size: 16px; line-height: 18px;">) </span></span><br /><br /><div style="background: 0px 0px white; border: 0px; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 16px; line-height: 22.176px; outline: 0px; padding: 0px; text-align: center; vertical-align: baseline;"><span style="background: 0px 0px; border: 0px; font-family: "georgia" , "times new roman" , serif; line-height: 18px; outline: 0px; padding: 0px; vertical-align: baseline;">Check out the others in the Marvel Cinematic Universe series!</span></div><div style="background: 0px 0px white; border: 0px; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 16px; line-height: 22.176px; outline: 0px; padding: 0px; text-align: center; vertical-align: baseline;"><span style="background: 0px 0px; border: 0px; font-family: "georgia" , "times new roman" , serif; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: 0px 0px; border: 0px; line-height: 18px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://musicbehindthescreen.blogspot.com/2013/05/spotlight-on-marvel-cinematic-universe.html" style="background: 0px 0px; border: 0px; color: #084d6c; outline: 0px; padding: 0px; transition: color 0.17s ease 0s; vertical-align: baseline;">MCU Phase One</a>, <a href="http://musicbehindthescreen.blogspot.com/2019/05/spotlight-onmarvel-phase-two.html">MCU Phase Two</a>, <a href="https://musicbehindthescreen.blogspot.com/2019/06/spotlight-onmarvel-phase-three.html">MCU Phase Three</a></span></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-87555002653506743082023-01-24T09:45:00.022-06:002023-03-13T10:20:40.415-05:002022 Original Score Awards Roundup<p><span style="font-family: georgia;"> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-2YUXwp9BFHny-S3WffTVps7TM8jF2oWNqg9r4QOHwZloh-53nnrPIZ_VvGKWpBZ3xQY6Tz7_252SE8svxJoAE7tOoGFv2zHei7A2k5v6xGPNin5CBc0qLCvEyS7vuUIHV_I2TvH2MuIPb5U8AeLLke7pZ_Ql1pO5h2PaffqlKqPHxD8esEJFQFKf=s599" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="249" data-original-width="599" height="166" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-2YUXwp9BFHny-S3WffTVps7TM8jF2oWNqg9r4QOHwZloh-53nnrPIZ_VvGKWpBZ3xQY6Tz7_252SE8svxJoAE7tOoGFv2zHei7A2k5v6xGPNin5CBc0qLCvEyS7vuUIHV_I2TvH2MuIPb5U8AeLLke7pZ_Ql1pO5h2PaffqlKqPHxD8esEJFQFKf=w400-h166" width="400" /></a></span></p><p></p><p><span style="font-family: georgia;"><span>Here's the annual </span><b>2022 Roundup of Original Score</b><span> </span><b>nominations and winners</b><span> from various awards associations. Winners will be marked in </span><span style="color: red;"><b>red </b>and updated regularly!</span></span></p><span style="font-family: georgia;"><span><br /><b><span>ACADEMY AWARD<br />BEST ORIGINAL SCORE</span></b></span><br /></span><div><span style="font-family: georgia;"><div style="margin: 0in;"><div><span style="color: red; font-family: georgia;">*All Quiet On The Western Front (Volker Bertelmann)</span></div><div><span style="font-family: georgia;">Babylon (Justin Hurwitz)</span></div><div><span style="font-family: georgia;">The Banshees Of Inisherin (Carter Burwell)</span></div><div><span style="font-family: georgia;">Everything Everywhere All At Once (Son Lux)<br />The Fabelmans (John Williams)</span></div></div><span><br /></span><span><b>GOLDEN GLOBE<br />BEST ORIGINAL SCORE <br /></b></span><div><span style="color: red;">*Babylon (Justin Hurwitz) </span></div><div>The Banshees of Inisherin (Carter Burwell)</div><div>The Fabelmans (John Williams) </div><div>Guillermo del Toro’s Pinocchio (Alexandre Desplat) </div><div>Women Talking (Hildur Guðnadóttir) </div></span><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><span><span><b>BRITISH ACADEMY FILM AWARDS (BAFTA)</b></span></span><br /></span></div><div><div><span style="color: red; font-family: georgia;">*All Quiet On The Western Front (Volker Bertelmann)</span></div><div><span style="font-family: georgia;">Babylon (Justin Hurwitz)</span></div><div><span style="font-family: georgia;">The Banshees Of Inisherin (Carter Burwell)</span></div><div><span style="font-family: georgia;">Everything Everywhere All At Once (Son Lux)</span></div><div><span style="font-family: georgia;">Guillermo Del Toro’s Pinocchio (Alexandre Desplat)</span></div></div><div><span style="font-family: georgia;"><span><br /><b>ANNIE AWARDS</b><br /><b>OUTSTANDING ACHIEVEMENT IN AN ANIMATED FEATURE PRODUCTION</b></span><br /></span></div><div><span style="font-family: georgia;"><div><div>The Bad Guys (Daniel Pemberton)</div><div><span style="color: red;">*Guillermo del Toro's Pinocchio (Alexandre Desplat, Roeban Katz, Guillermo del Toro, Patrick McHale)</span></div><div>Mad God (Dan Wool)</div><div>The Sea Beast (Mark Mancina, Nell Benjamin, Laurence O'Keefe)</div><div>Turning Red (Ludwig Göransson, Billie Eilish, Finneas O'Connell)</div></div><span><br /></span><span><span><b>SATELLITE AWARDS (INTERNATIONAL PRESS ACADEMY)<br />ORIGINAL SCORE</b></span></span></span></div><div><span style="font-family: georgia;"><div><span><div><span style="color: red;">*Babylon (Justin Hurwitz)</span></div><div>The Banshees of Inisherin (Carter Burwell)</div><div>The Fabelmans (John Williams)</div><div>Top Gun: Maverick (Harold Faltermeyer, Lady Gaga, Hans Zimmer & Lorne Balfe)<span style="white-space: pre;"> </span></div><div>The Woman King (Terence Blanchard)</div><div>Women Talking (Hildur Guðnadóttir)</div></span></div><span><span><br /></span><span><b>LOS ANGELES FILM CRITICS ASSOCIATION<br />BEST MUSIC/SCORE</b></span></span><br /><div><div><span style="color: red;">*RRR (M.M. Keeravani)</span></div><div>Runner-up: EO (Paweł Mykietyn)</div></div><span><span><b><br /></b></span><span><b>HOLLYWOOD CRITICS ASSOCIATION<br />BEST SCORE</b></span></span></span></div><div><span style="font-family: georgia;"><div><div><div><span style="color: red;">*Babylon (Justin Hurwitz) </span></div><div>The Banshees of Inisherin (Carter Burwell)</div><div>The Batman (Michael Giacchino)</div><div>Guillermo del Toro’s Pinocchio (Alexandre Desplat) </div><div>Women Talking (Hildur Guðnadóttir) </div></div></div><span><span><b><br /></b></span><span><b>SAN DIEGO FILM CRITICS SOCIETY<br />BEST USE OF MUSIC</b></span></span><br /></span></div><div><span style="font-family: georgia;">The Banshees of Inisherin<br /><span style="color: red;">*Elvis</span><br />The Fabelmans<br /></span><span style="font-family: georgia;">Runner-up: TÁR <br />Weird: The Al Yankovic Story</span></div><div><span style="font-family: georgia;"><b><span style="text-transform: uppercase;"><br /></span></b><b><span style="text-transform: uppercase;">SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE</span></b><br /></span><div style="margin: 0in;"><span style="font-family: georgia;"><span><b><span style="text-transform: uppercase;">BEST ORIGINAL SCORE</span></b></span><br /></span></div><div style="margin: 0in;"><span style="font-family: georgia;"><span><div><span style="font-family: georgia;"><div>Babylon (Justin Hurwitz) </div><div>The Banshees of Inisherin (Carter Burwell)</div><div>The Fabelmans (John Williams)</div><div>Guillermo del Toro’s Pinocchio (Alexandre Desplat)</div><div><span style="color: red;">*Women Talking (Hildur Guðnadóttir)</span></div></span></div></span></span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;"><span><br /></span><b style="text-transform: uppercase;"><span>SEATTLE FILM CRITICS SOCIETY</span></b></span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;"><span style="text-transform: uppercase;"><span><b>BEST ORIGINAL SCORE</b></span></span><br /><span></span></span></div><div style="margin: 0in 0in 0.0001pt;"><div style="margin: 0in 0in 0.0001pt;"><span style="color: red; font-family: georgia;">*Babylon (Justin Hurwitz) </span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;">The Banshees of Inisherin (Carter Burwell)</span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;">The Batman (Michael Giacchino)</span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;">The Fabelmans (John Williams)</span></div><div style="margin: 0in 0in 0.0001pt;"><span style="font-family: georgia;">Nope (Michael Abels)</span></div></div><span style="font-family: georgia;"><span><br /></span><span><b>WASHINGTON DC AREA FILM CRITICS ASSOCIATION</b></span><br /><span><b>BEST ORIGINAL SCORE</b></span><br /><div><div><span style="font-family: georgia;"><div><span style="color: red;">*The Batman (Michael Giacchino)</span></div><div>The Fabelmans (John Williams)</div><div>Guillermo del Toro’s Pinocchio (Alexandre Desplat)</div><div>TÁR (Hildur Guðnadóttir)</div><div>Women Talking (Hildur Guðnadóttir) </div></span></div></div><span><b><br /></b><b>BOSTON SOCIETY OF FILM CRITICS<br />BEST ORIGINAL SCORE</b></span><br /><span style="color: red;">*RRR (M.M. Keeravani)</span><br /><span><span><br /></span><span><b>CHICAGO FILM CRITICS AWARDS<br />BEST ORIGINAL SCORE<br /></b></span></span><div><div><span style="color: red;">*Babylon (Justin Hurwitz) </span></div><div>The Banshees of Inisherin (Carter Burwell)</div><div>The Batman (Michael Giacchino)</div><div>Guillermo del Toro’s Pinocchio (Alexandre Desplat) </div><div>RRR (M.M. Keeravani)</div></div><span><span><br /></span><span><b>DETROIT FILM CRITICS SOCIETY</b></span></span><br /><span><b>BEST USE OF MUSIC/SOUND</b></span><br /><div><br /></div><span><span><b><br /></b></span><span><b>ST. LOUIS FILM CRITICS ASSOCIATION<br />BEST MUSIC SCORE</b></span></span><br /><div><div>Babylon (Justin Hurwitz) </div><div>The Banshees of Inisherin (Carter Burwell)</div><div>The Batman (Michael Giacchino)</div><div>The Fabelmans (John Williams)</div><div><span style="color: red;">*Women Talking (Hildur Guðnadóttir)</span> </div></div><span><span><b><br /></b></span><span><b>INDIANA FILM JOURNALISTS ASSOCIATION</b></span></span><br /><span><span><b>BEST MUSICAL SCORE</b></span></span><br /><div><div><span style="color: red;">*Winner: The Batman (Michael Giacchino)</span></div><div>Runner-up: RRR (M.M. Keeravani)</div></div><span><span><b><br /></b></span></span><span><span><b>AUSTIN FILM CRITICS ASSOCIATION</b></span></span><br /><b>BEST SCORE</b><br /><div><div><span style="font-family: georgia;"><div><span style="color: red;">*Babylon (Justin Hurwitz) </span></div><div>The Banshees of Inisherin (Carter Burwell)</div><div>The Batman (Michael Giacchino)<br />Everything Everywhere All at Once (Son Lux)</div><div>RRR (M.M. Keeravani)</div></span></div></div><span><b><br /></b></span><span><b>NORTH CAROLINA FILM CRITICS ASSOCIATION<br />BEST MUSIC</b></span><br /><div><div>Babylon (Justin Hurwitz) </div><div>The Banshees of Inisherin (Carter Burwell)</div><div><span style="color: red;">*The Batman (Michael Giacchino)</span><br />The Fabelmans (John Williams)<br />RRR (M.M. Keeravani)</div></div><span><br /></span><b><span>DALLAS-FORT WORTH FILM CRITICS ASSOCIATION</span></b><br /><span><span><b>BEST MUSICAL SCORE</b></span></span></span></div><div><div><span style="color: red; font-family: georgia;">*Winner: Guillermo del Toro’s Pinocchio (Alexandre Desplat)</span></div><div><span style="font-family: georgia;">Runner-up: The Fabelmans (John Williams)</span></div></div><div><span style="font-family: georgia;"><span><br /><b>HOUSTON FILM CRITICS SOCIETY<br />BEST ORIGINAL SCORE</b></span><br /><div><div>Babylon (Justin Hurwitz) </div><div>The Banshees of Inisherin (Carter Burwell)</div><div>Empire of Light (Trent Reznor, Atticus Ross)</div><div>The Fabelmans (John Williams)</div><div><span style="color: red;">*Guillermo del Toro’s Pinocchio (Alexandre Desplat)</span></div><div>Women Talking (Hildur Guðnadóttir)</div></div><span><br /></span><span><b>PHOENIX CRITICS CIRCLE</b></span><br /><span><b>BEST SCORE</b></span></span></div><div><span style="font-family: georgia;"><div><span style="color: red;">*Babylon (Justin Hurwitz) </span></div><div>The Batman (Michael Giacchino)</div><div>The Fabelmans (John Williams)</div><div>Guillermo del Toro’s Pinocchio (Alexandre Desplat)</div></span></div><div><span style="font-family: georgia;"><span><span><span style="color: red;"><br /></span></span><span><b>LAS VEGAS FILM CRITICS SOCIETY<br />BEST SCORE</b></span></span></span></div><div><span style="font-family: georgia;"><div>The Batman (Michael Giacchino)</div><div>The Fabelmans (John Williams)</div><div><span style="color: red;">*Guillermo del Toro’s Pinocchio (Alexandre Desplat)</span></div><div>The Northman (Robin Carolan & Sebastian Gainsborough)</div><div>Women Talking (Hildur Guðnadóttir) </div><br /><span><b>PORTLAND CRITICS ASSOCIATION<br />BEST ORIGINAL SCORE</b></span></span></div><div><span style="font-family: georgia;"><span>Babylon (Justin Hurwitz) <br />Runner-up: The Batman (Michael Giacchino)<br /><span style="color: red;">*Guillermo del Toro’s Pinocchio (Alexandre Desplat)</span><br />RRR (M.M. Keeravani)</span></span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><span><b>FLORIDA FILM CRITICS CIRCLE</b></span><br /><span><b>BEST SCORE</b></span><br /></span><div><span style="font-family: georgia;"><div><div><span style="color: red;">*Babylon (Justin Hurwitz)</span></div><div>Runner-up: Empire of Light (Trent Reznor, Atticus Ross)</div><div>Everything Everywhere All at Once (Son Lux)</div><div>The Fabelmans (John Williams)</div><div>Runner-up: Nope (Michael Abels)</div></div><span><span><b><br /></b></span><span><b>GEORGIA FILM CRITICS ASSOCIATION</b></span></span><br /><span><b>BEST ORIGINAL SCORE</b></span><br /></span></div><div><span style="font-family: georgia;"><div><div>Runner-up: Babylon (Justin Hurwitz) <br /><span style="color: red;">*The Batman (Michael Giacchino)</span></div><div>Black Panther: Wakanda Forever (Ludwig Göransson)</div><div>The Fabelmans (John Williams)<br />Guillermo del Toro's Pinocchio (Alexandre Desplat)</div></div><div>Nope (Michael Abels)</div></span></div><div><span style="font-family: georgia;"><span><span><b><br /></b></span><span><b>LONDON FILM CRITICS CIRCLE<br />TECHNICAL ACHIEVEMENT (FOR MUSIC)</b></span></span><br />None given<br /><span><br /><b>BLACK REEL AWARDS<br />OUTSTANDING SCORE</b></span></span></div><div><span style="font-family: georgia;"><span><div><div>Alice (Common)</div><div>End of the Road (Craig Deleon)</div><div>Nanny (Tanerelle & Bartek Gliniak)</div><div>Nope (Michael Abels)</div><div><span style="color: red;">*The Woman King (Terence Blanchard)</span></div></div><br /><b>CRITICS CHOICE AWARDS<br />BEST SCORE</b></span><div><div>Babylon (Justin Hurwitz)</div><div>The Batman (Michael Giacchino)</div><div>The Fabelmans (John Williams)</div><div>Guillermo del Toro's Pinocchio (Alexandre Desplat)</div><div><span style="color: red;">*Tár (Hildur Guðnadóttir)</span></div><div>Women Talking (Hildur Guðnadóttir)</div></div><span><br /><b>SATURN AWARDS<br />BEST MUSIC</b></span></span></div></div></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2628610689664372825.post-15701599657846194612023-01-18T17:51:00.000-06:002023-01-18T17:51:06.817-06:00Quick Review: Babylon<p><b style="font-family: georgia; font-size: x-large;">Babylon<br /></b><span style="font-family: georgia;">Music composed by <b>Justin Hurwitz</b><br /></span><span style="font-family: georgia;">Orchestrated and conducted by </span><span style="font-family: georgia;">Justin Hurwitz</span><span style="font-family: georgia;"><br /></span><span style="font-family: georgia;">Album running time: 97 minutes<br /></span><span style="font-family: georgia;">Available on Interscope Records</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSRlsDBQDneDCCObVQW8B-UXOH5b42jCWZGFiX3L1ecLhpHS6-7-Fn-ZZQuX_Jl2IiOiLRTpCtAfddDoMW9HR9l_cex_V5tLjakoFdZFa1aPHawoOZLGCFnNhrQqe-T8utbKrln9gpMLiIPJPDOhfFqzV_mhOhSgYsSDSx7UXYh2yTviwqVTRTz2pF/s640/babylon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSRlsDBQDneDCCObVQW8B-UXOH5b42jCWZGFiX3L1ecLhpHS6-7-Fn-ZZQuX_Jl2IiOiLRTpCtAfddDoMW9HR9l_cex_V5tLjakoFdZFa1aPHawoOZLGCFnNhrQqe-T8utbKrln9gpMLiIPJPDOhfFqzV_mhOhSgYsSDSx7UXYh2yTviwqVTRTz2pF/s320/babylon.jpg" width="320" /></a></div><p></p><div><span style="font-family: georgia;">By now, we know director Damien Chazelle and Justin Hurwitz love jazz. They've collaborated on <i>Guy and Madeline on a Park Bench</i> (2009), <i>Whiplash </i>(2014), <i>La La Land</i> (2016) and <i>First Man</i> (2018) - many of which are jazz based scores. In their films, music is often the subject and carries much of the weight of the film. And boy this movie is covered in music - namely source music performed by the on screen bands and film ensembles. We hear a lot of party music throughout with </span><span style="font-family: georgia;">a 1940s big band style (even if the film takes place in the 1920s). There is traditional film score as well, held together mainly by the main character theme. It's a long album, so I'll be brief with a mostly non-spoiler rundown.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Welcome </b>starts with crowd hoots and vocals adding to the saxophones, clarinets and trumpets with some solos taking over this raucous party music. Next we meet an important part of the emotional underscore in </span><span style="font-family: georgia;"><b>Manny and Nellie’s Theme</b>. The minor key honky-tonk piano and finger snaps sound like a <u>very</u> close relative of "City of Stars" - this theme will come back in different reprises throughout the score. <b>King of the Circus</b> continues the party scoring with interesting vocals and drums before the repetitive pattern adds the woodwinds and brass. Jazz source continues in <b>Jub Jub</b> with another repeating riff for brass/sax. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Coke Room</b> is a lively version of the Manny/Nellie Theme featuring sax. <b>My Girl's Pussy</b> is is a slow jazz number performed at the party (original lyrics by Harry Roy from 1931!) while <b>Idaho </b>picks up the lively pace and features Theremin. <b>Voodoo Mama</b> is the signature piece of the film and used in much of the advertising as Nellie wildly dances at the party - we hear the growling saxes and wailing trumpet that builds until the chaotic ending. <b>Gold Coast Rhythm (Wallach Party)</b> is the music as everyone scraps themselves together after the party - with a few melodic similarities to <i>La La Land</i>. <b>Ain't Life Grand</b> brings back the Manny/Nellie theme with honky-tonk piano, added organ and vibes. <b>Babylon </b>features erhu and a large buildup signifying the title card.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Morning </b>is mix of Schubert-inspired classical and jazz with piano and strings taking the lead. As we see the Kinescope filming day, we get several source cues: <b>Kinescope Ragtime Piano</b>, <b>Kinescope Erhu (Orientally Yours)</b> on erhu, <b>Kinescope Carnival Music</b> cleverly reprising the music from the opening, and <b>Kinescope Organ Music</b>. We also see a full orchestra on set performing the classical work <b>Night on Bald Mountain</b> (Modest Mussorgsky) as they stage the large action fight. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Herman's Hustle</b> uses Manny/Nellie's theme on sax with some wild percussion. <b>Gold Coast Sunset</b> underscores the funny moment of getting the last shot before the sun sets with a bit of Wagner's Liebestod as classical inspiration. <b>Champagne</b>, a samba-like piece based on unused <i>La La Land</i> music builds with trumpet solos. <b>Wild Child</b> is a fun jazz piece with chorus over the montage of Nellie's rise to fame. Manny/Nellie's theme returns as they reconnect in <b>New York</b>, while the theme is more bare and sadder in <b>See You Back in LA</b>. <b>Red Devil</b> is jazz source party music after Kinescope moves to talking pictures.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>I Want a Man</b> is a steel drum version of Manny/Nellie's theme in addition to lyrics barely heard in the party background. We see an erhu playing at the party as <b>Orientally Yours</b> expands on the Kinescope source heard earlier - this time with a seductive interlude. <b>Gimme </b>underscores Nellie taking over the party leading them to the snake fight in the desert. In the studio, we see the studio filming the </span><span style="font-family: georgia;"><i>The Hollywood Revue of 1929</i> version of <b>Singin' in the Rain</b> with trumpet obbligato. <b>Pharaoh John</b>, another source jazz piece underscoring the rise of trumpet player Sidney Palmer.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">As Manny and Nellie reconnect, we hear a bit of their melancholic theme in <b>Meet Miss LaRoy</b>. <b>Call Me Manny</b> continues the upbeat version of their theme. Classical inspiration à la Ravel's Bolero underscores Nellie's attempt to class things up at the <b>Hearst Party</b>. <b>Damascus Thump</b> is aggressive quasi-source with featured a heartbreaking moment Sidney Palmer on trumpet. <b>All Figured Out</b> returns back to Manny/Nellie's theme. <b>Nea Smyrni</b> plays as we enter the exotic world of the mob and <b>Waikele Tango</b> plays during the odd encounter with the mob boss. For their unnerving visit to the "underworld", we hear <b>Toad </b>and <b>Blockhouse </b>- full of Theremin-esque electronics and processed voices. Listen closely for the early party theme appearing in the latter cue.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Jack's Party Band</b> is boppy party music while <b>Gold Coast Rhythm (Jack’s Party)</b> is the same laidback tune heard after the initial party. <b>Levántate </b>and <b>Señor Avocado</b> are Latin-eque pieces as Manny and Nellie escape to Mexico with some great jazz trumpet moments. Source music returns in <b>Heyo </b>with vocals and <b>Gold Coast Rhythm (Juan Bonilla)</b> brings back a peppier version of that theme heard a few times.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Te Amo Nellie</b> brings the Manny/Nellie theme back as she dances into the dark. We see Sidney's return to the stage and hear <b>Gold Coast Rhythm (Sidney’s Solo)</b> with more elaborate trumpet solo. The same piece underscores a melancholic montage of the passage of time. Manny wanders Los Angeles and into a movie theater, catching <i>Singin' in the Rain</i>. As he's watching, we get to hear a wistful version of their theme in <b>Manny and Nellie’s Theme (Reprise)</b>. <b>Finale </b>continues with their theme before overlapping the opening party theme, as he flashbacks to his time in Hollywood. The music turns to wild cacophony and a reprise of the title card music. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><div>In <i>Babylon</i>, Hurwitz's music blurs the line between score and source music. What starts as party music, transfers over to montages, and full dialogue scenes. If some of the music seems repetitive during the cues, it is often dialed down during dialogue or when the band isn't seen. </div><div>The main themes that return are changed around enough to follow the story, mainly Manny and Nellie's Theme and the Gold Coast Rhythm. They are easy to follow during the film and represent the story on the album.</div><div><br /></div><div>This album is the total listening package, much like the <i>La La Land Complete Musical Experience</i> combination of song and score albums. Fans of the score could easily trim the 97 minute release into a more concentrated listen if they so choose.</div><div><br /></div><div>Hurwitz didn't step completely out of his comfort zone with this score, but his sheer ambition to create a nonstop party with generous amounts of source music, electronics, fantastic instrumental solos over a ton of sessions is admirable. The amount of music and its importance in the film is what has clearly caught on with listeners and critics alike.</div></span></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2628610689664372825.post-85230749041822961562023-01-07T10:40:00.005-06:002023-01-07T10:40:00.169-06:00Music Behind the Ride - Wonders of Life: Part 2<div><span style="font-family: georgia;">In this <b><u><span style="color: #990000;">Music Behind the Ride</span></u></b>, we're continuing our look into the EPCOT classic pavilion - <b><span style="font-size: large;">Wonders of Life</span></b>. </span><span style="font-family: georgia;">Part One featured the main attraction, </span><b style="font-family: georgia;">Body Wars</b><span style="font-family: georgia;">, </span><a href="http://musicbehindthescreen.blogspot.com/2020/07/music-behind-ride-body-wars.html" style="font-family: georgia;">which you can read here</a><span style="font-family: georgia;">.</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWIacLhH94FFdMZKpFCRN6rqpAbk1LVCQmHJxBcJWaWMGXJ1Sn0mJHTc7E8F9x5OODcmMJobV_dzxCa4gpPObR7FjGfxdpziLxpRSRxAMS0QqSxLsFTVZR5bYie_gV13Bi4IJ9M4ibvmyJex4q0WDIu0rrIA_Itk2zJCxb5Pfj7FK1BSNxNVWGvgVN/s494/wondersoflife3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="352" data-original-width="494" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWIacLhH94FFdMZKpFCRN6rqpAbk1LVCQmHJxBcJWaWMGXJ1Sn0mJHTc7E8F9x5OODcmMJobV_dzxCa4gpPObR7FjGfxdpziLxpRSRxAMS0QqSxLsFTVZR5bYie_gV13Bi4IJ9M4ibvmyJex4q0WDIu0rrIA_Itk2zJCxb5Pfj7FK1BSNxNVWGvgVN/w400-h285/wondersoflife3.jpg" width="400" /></a></div></div><div><span style="font-family: georgia;">Located in EPCOT's Future World, the <b>Wonders of Life</b> pavilion was sandwiched between the Universe of Energy and Horizons, opening in October 1989. Sponsored by MetLife, the pavilion gave guests a look at heath and fitness through rides, films and fitness machines. The pavilion was known for the golden dome and huge Tower of Life DNA strand at the entrance. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMXmQnDLMYLx1BYwBImpgQBA9oY0bhYm5r8fxhtqvX1stdtud00kYtPszUvu8DkOR0Bz2RscLMPfvzX_zpppJRpcSHbZ12imzS79h4jGkr115tKGC6mxOjVPcLIj7NrTUKrULjBFbQtZmHzRzKj2Lhvkhb9Xl9OX14sFW-jRc8U5LnnYZToawzt_v_/s500/craniumcommand.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="500" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMXmQnDLMYLx1BYwBImpgQBA9oY0bhYm5r8fxhtqvX1stdtud00kYtPszUvu8DkOR0Bz2RscLMPfvzX_zpppJRpcSHbZ12imzS79h4jGkr115tKGC6mxOjVPcLIj7NrTUKrULjBFbQtZmHzRzKj2Lhvkhb9Xl9OX14sFW-jRc8U5LnnYZToawzt_v_/w400-h272/craniumcommand.jpg" width="400" /></a></div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">On we go to another major attraction in the pavilion - <b>Cranium Command</b>. </span></div><div><span style="background-color: white; font-family: georgia;">It featured a look inside the militaristic functions of the brain as it connects with the rest of the human body. The show was divided into two sections: the animated preshow and main theater attraction with an animatronic, animation and live action segments.</span></div><div><span style="background-color: white; font-family: georgia;"><br /></span></div><div><span style="background-color: white; font-family: georgia;">In the preshow, we first meet our fearless leader - General Knowledge, in charge of us Cranium Commando recruits to run the brain. (Corey Burton provides the drill sergeant voice of the General). He runs through some facts about the brain and includes references to Albert Einstein and Jim Varney's Ernest character. We then meet Buzzy along with the new recruits. He gives each of them their human assignments with a bit of blustery insults. Buzzy is given the "most unstable craft in the fleet", a twelve year old adolescent boy. General Knowledge then orders everyone into the main theater.</span></div><div><span style="background-color: white; font-family: georgia;"><br /></span></div><div><span style="background-color: white; font-family: georgia;">The main theater is a few rows of benches facing the command center inside the head of twelve year old Bobby. We now see Captain Buzzy, an animatronic on a swivel chair. The General tells Buzzy he needs to guide Bobby through a typical day. We are introduced to Hypothalamus who explains his job as Bobby wakes up. We see everything through his POV with smaller screens around the control center. Buzzy checks in with the various parts with celebrity roles: steadfast Left Brain (Charles Grodin), groovy Right Brain (Jon Lovitz). In the heart we meet Left and Right Ventricle (Kevin Nealon and Dana Carvey doing their SNL Hans and Franz bit). Frazzled Adrenal Gland (Bobcat Goldthwait) reports, as does hungry Stomach (George Wendt). As Buzzy rushes Bobby past breakfast and missing the bus, the various parts provide body commentary as he makes it into science class and meeting new cute classmate Annie. We follow Bobby into the cafeteria, meeting bullies and leading a food fight.</span></div><div><span style="background-color: white; font-family: georgia;"><br /></span></div><div><span style="background-color: white; font-family: georgia;">General Knowledge interrupts the chaos as the boy is sent to the principal's office. Buzzy takes control and gets the parts to cooperate. Bobby runs into Annie who agrees to meet up with him after school and kisses him, leading to cheers from all the parts. The General congratulates Buzzy for for keeping cool under stress and thanks us as we exit the auditorium. </span></div><div><span style="background-color: white; font-family: georgia;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOo4pWoaRijiK61BFRvBDYf_miK16rN_kZC8ArDbXtDEzyrnKzZPFrbcF3D22fnobeO9TWRHY7vSNyUfbEMj5hqxDu9iKS8Y9ENVZ6gBwxbOK8veuiG9KN87toh9N3XPNerMiwOPwtNYkwleygR3l9jFvetCsQmFgtBQI_jXu59LPQfPA-V6noA6tL/s800/craniumbuzzy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOo4pWoaRijiK61BFRvBDYf_miK16rN_kZC8ArDbXtDEzyrnKzZPFrbcF3D22fnobeO9TWRHY7vSNyUfbEMj5hqxDu9iKS8Y9ENVZ6gBwxbOK8veuiG9KN87toh9N3XPNerMiwOPwtNYkwleygR3l9jFvetCsQmFgtBQI_jXu59LPQfPA-V6noA6tL/w400-h240/craniumbuzzy.jpg" width="400" /></a></div><br /></div><div><span style="background-color: white; font-family: georgia;">Cranium Command opened with the pavilion in October 1989. The 20-ish minute show had some great comedy moments, aided with the 1980s comedians. The preshow was directed by Gary Trousdale and Kirk Wise (both would go on to direct <i>Beauty and the Beast</i>, <i>Hunchback </i>and <i>Atlantis</i>). The live action segments were directed by Jerry Rees (director of <i>The Brave Little Toaster</i> among other park attractions). The music was written by <b>David Newman</b>, who worked on Brave Little Toaster and several future Disney projects. The preshow is full of militaristic fanfares and the main show is full of peppy and manic moments. As far as I've seen, no recording of the music has been released.</span></div><div><span style="background-color: white; font-family: georgia;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9T896Eb6yM_U1y96Kzxe2bUw1OXHKg2wSVECoZ3RPWleP8UXomHBlLb38oqS15PLWgcQo_XQ2opS-h12bcHYz6CgQ_53sRJ3i3GaZynYYCs6Zlq6dgSMbCRiB5QGMrcFDaeQtQ-VKRYuilIu6ujL2qOguAk_YkDLCBrEgwclmY41QRcrcXTxmmGPj/s400/making-of-me.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="227" data-original-width="400" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9T896Eb6yM_U1y96Kzxe2bUw1OXHKg2wSVECoZ3RPWleP8UXomHBlLb38oqS15PLWgcQo_XQ2opS-h12bcHYz6CgQ_53sRJ3i3GaZynYYCs6Zlq6dgSMbCRiB5QGMrcFDaeQtQ-VKRYuilIu6ujL2qOguAk_YkDLCBrEgwclmY41QRcrcXTxmmGPj/w400-h228/making-of-me.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div><span style="font-family: georgia;">Next we head to the back of the pavilion to <b>The Making Of Me</b>. </span></div><div><span style="font-family: georgia;">At the entrance and in the park guide, this attraction had a parental warning as it features the topic human reproduction and birth - pretty unusual for a theme park. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Showing every 15 minutes, the show begins with host Martin Short (years before his appearance in O Canada! across the park). He narrates in his parents past, following them in school and the school dance. He also get in front of a chalkboard to lecture about the difference between male and female bodies. The school dance fades into their wedding with some pretty funny interludes. He awkwardly explains the way sperm meets the egg as the film turns animated. We see animated sperm in a race to the fallopian tubes. Next we see some up close fetal footage with Short narrating the stages. The footage fades out as the baby is born.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKX9IULdg7uPa3JhKlZIOrCj_4XXry1tOPFu4LxVger4qJyptMqKkGsxKileteu42VHEkcHby3bsJY5NyGYAHukB_AsO4c3vMTe5eEE_Qs5J9eAj08Oj2_dNexmZHvfFy2dGPSm98OlrvWBRELX0ZfUm5pqC4DaN1LMzEfgyZU5ZkwxNGWNqXZEh7o/s780/makingofme.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="299" data-original-width="780" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKX9IULdg7uPa3JhKlZIOrCj_4XXry1tOPFu4LxVger4qJyptMqKkGsxKileteu42VHEkcHby3bsJY5NyGYAHukB_AsO4c3vMTe5eEE_Qs5J9eAj08Oj2_dNexmZHvfFy2dGPSm98OlrvWBRELX0ZfUm5pqC4DaN1LMzEfgyZU5ZkwxNGWNqXZEh7o/w400-h154/makingofme.jpg" width="400" /></a></div><br /></div><div><span style="font-family: georgia;">Music was composed by <b>Bruce Broughton</b>, the Disney parks musical legend. The music really carries this short film, with several sweet moments, and the full Carl Stalling-style cartoon segment with a Ride of the Valkyries reference and sexy saxophone representing the egg. No recording of this material has been publicly released. </span></div><div><span style="background-color: white; font-family: georgia;"> </span></div><div><span style="font-family: georgia;"><span face=""Adelle Sans W01", Helvetica, Arial, sans-serif" style="background-color: white;">The rest of the pavilion had the <b>Fitness Fairgrounds</b>, small activities and shorter programs. <b>Goofy About Health</b> was an 8 minute theater show reminding the audience to exercise, eat right and be healthy. Of course you see Goofy with his bad habits and the doctor sings the "Unhealthy Living Blues" over a montage </span><span style="background-color: white;">of old Goofy cartoons. <b> </b>The <b>AnaComical Theatre</b> had actors doing improv sketches about healthy lifestyles, which ended in 2000. The <b>Sensory Funhouse</b> had interactive exhibits to test your senses. The more active section had <b>Coach's Corner</b> with sports equipment to test your swing speed, <b>Wonder Cycles</b> to pedal your stationary bike while watching video clips. There was also <b>Frontiers of Medicine</b> with its real medical exhibits and <b>Lifestyle Revue</b> gave you health tips after putting your habits into a computer.</span></span></div><div><span style="font-family: georgia;"><span style="background-color: white;"><br /></span></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSBTEjRn9gmbUbbWV04IZyuO6iZETwkHB0LYAm_9Je5bW2SnzmWkGNtbJ9SKrpijQCXeQuxGnMFxhteQDLyhETQtv51a5NAiV303n3KvQaMjUZn1LBQeQ73oAiGQzuWEo26qZ2nXP_usy98pn2bTV2-3JOf3pZkeVtao9zj80njzVnehdByYrTQdfb/s497/goofyhealth.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="497" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSBTEjRn9gmbUbbWV04IZyuO6iZETwkHB0LYAm_9Je5bW2SnzmWkGNtbJ9SKrpijQCXeQuxGnMFxhteQDLyhETQtv51a5NAiV303n3KvQaMjUZn1LBQeQ73oAiGQzuWEo26qZ2nXP_usy98pn2bTV2-3JOf3pZkeVtao9zj80njzVnehdByYrTQdfb/w400-h245/goofyhealth.jpg" width="400" /></a></div><br /></span></div><div><span style="background-color: white;"><span style="font-family: georgia;">By 2001, MetLife ended their sponsorship of the pavilion. The main attractions continued to run, with the fairground area staying generally empty. In 2004, the entire pavilion ran only seasonally before officially closing the doors in 2007. The pavilion was used for Epcot Festivals with most of the interior details removed or just blocked off. </span></span><span style="font-family: georgia;">In 2019, talks were made to transform the The Wonders of Life pavilion into the Play Pavilion....which may be officially cancelled as of 2022. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Like many things from the original Epcot days, this pavilion fizzled away over the decades. </span><span style="font-family: georgia;">The attractions from this pavilion haven't had the same resurgence in Disney nostalgia like other things from lost Epcot. The exception may be Buzzy, whose apparent theft gave many Disney fans something to discuss. Overall, the pavilion was a fun and interesting way to tackle the info-tainment that was part of early Epcot's vision. </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-21993022767074077872022-12-09T18:34:00.000-06:002022-12-09T18:34:12.426-06:00Quick Review: The Fabelmans<p><span style="font-size: x-large;"><span style="font-family: georgia;"><span><span><span><b>The Fabelmans</b></span></span></span></span></span><br /><span style="font-size: medium;"><span style="font-family: georgia;">Music composed and conducted by <b>John Williams</b><br />Music edited by Ramiro Belgardt<br />Music recorded and mixed by Shawn Murphy<br />Score recorded at Sony Pictures Studios<br />Album running time: 31 minutes<br />Available on Sony Classical</span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdz32vEvk-H6O5VFszOe1Rr2sFuT_CQ7W2UNCe1emquybtce4kK38c_nXq_VVjKJnNawQi_kQ8u_mQrTPE3FJGvqwADinT8eusYF8RAR9HMycaO01ddHYeo1Jr2C7ifvNSeNSK1iVW7BfhFH7UbMED0HQGI20HS68RDVqJlU8RH6Tkcuk48c5xUnY/s1000/thefabelmans.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdz32vEvk-H6O5VFszOe1Rr2sFuT_CQ7W2UNCe1emquybtce4kK38c_nXq_VVjKJnNawQi_kQ8u_mQrTPE3FJGvqwADinT8eusYF8RAR9HMycaO01ddHYeo1Jr2C7ifvNSeNSK1iVW7BfhFH7UbMED0HQGI20HS68RDVqJlU8RH6Tkcuk48c5xUnY/s320/thefabelmans.jpg" width="320" /></a></span></div><p></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>For Steven Spielberg's most recent film, he travels back to his childhood - and brings along his most trusted collaborator. Of course their work together started all way back with 1974's <i>The Sugarland Express</i> - now 29 films later. It's an intimate score for Williams, perfectly fitting Spielberg's personal portrait of Sammy Fabelman and family. It's also one of Williams' shorter scores, sparingly used in the film alongside source music and classic piano pieces (some of which are included on the album). </span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>The piano tends to be featured in Williams' more reflective and emotional scores, and we hear the fantastic pianist Joanne Pearce Martin through most of the cues. The chamber-sized orchestra also features plenty of harp and celeste for lighter, subtle moments. <br /></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><b>The Fabelmans</b> begins with a lovely theme on piano solo. It's a pretty theme and is the score's main identity - Sammy and his relationship with his mother, even if it doesn't appear often in the film. <b>Mitzi's Dance</b> underscores his mother's angelic dance in the car headlights with strings, harp and celeste featured. This secondary theme is tied to scenes with Mitzi, always containing a bit of sadness and seemingly related to Satie's <i>Gymnopédie No. 1. </i>Next on the album is a real classical piece - a movement from <b>Sonatina in A Minor</b> by Friedrich Kuhlau.</span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><b>Midnight Call </b>moves slowly with dark lower strings before adding the long-held higher strings, with dissonances as they move. We also hear harp and celeste accents. <b>Reverie </b>brings the solo piano back and the descending second theme heard earlier in Mitzi's Dance. <b>Mother and Son</b>, a highlight of the album, brings the main theme to guitar (guitar solo by George Doering). Warm strings take the middle section, before the piano solo takes the theme over - it's a real delight.</span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span>Next is the spiritoso movement of <b>Sonatina in C Major</b> by Muzio Clementi. The second theme appears on a celeste in the start of <b>Reflections</b> with the light textures continuing on harp and solo violin. The next classical piece is the adagio movement of Bach's <b>Concerto in D Minor</b> with its ever present right hand ornamentation. <b>New House</b> continues the adagio tempo, with strings under a repeating piano figure and later adding a rare moment of brass.</span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><b>The Letter</b> begins with the descending theme on celeste, slowly adding in hopeful woodwind solos. <b>The Journey Begins</b> underscores the ending of Sammy's meeting at the studio - the breezy playfulness scherzo is sure to bring a smile to listeners. The film's credits roll with the excerpt of Haydn's <b>Piano Sonata</b>, before transitioning to Williams' secondary theme on celeste and strings. The main theme takes over on solo piano, with strings and guitar as accompaniment. There's a fantastic moment of strings taking the theme over, with glistening piano runs floating above. <br /></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;"><span><span><i>The Fabelmans</i> is an interesting mixed bag of music. We get Williams at his most restrained, still melodic but more distant that usual. His next film, <i>Indiana Jones and the Dial of Destiny</i> probably will have everything else we come to expect from the maestro. </span></span></span></span></p><p><span style="font-family: georgia;"><span><span style="font-size: medium;"><span style="font-size: small;"><span style="font-size: medium;">We also see Williams and Spielberg minimally spot the film with original score - we hear it in key sequences but often it stays just beneath the surface in the most understated way. As mentioned before, it's a very short score, padded with some classical selections that interrupt the flow a bit. Overall, the score feels like a lovely gift, meticulously wrapped by Williams to Spielberg for all the years together and a fond remembrance of his parents and childhood. </span> </span><br /></span></span></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-68428772855193748992022-11-17T19:45:00.003-06:002024-01-02T11:51:01.554-06:00Marvel Television Musical Cameos<span style="font-family: georgia;">Starting on Disney+ in 2021, there have been several <b>Marvel Studios television series</b> that are connected to the Marvel Cinematic Universe. While the shows add new characters and musical themes, the shows include <b>musical cameos</b> and references from several MCU films. Here's a rundown of MCU shows and the credited themes they included.<span><b><span style="font-size: large;"><div><span><b><span style="font-size: large;"><br /></span></b></span></div>WandaVision (2021)</span></b><br />Series composed by <b>Christophe Beck</b></span></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHPMe5BlodiBxmQjBCdiYzsGAaVTVdAHj2eNelmnNwtOShXPxbNZpQI8Xzibdt3WuBJDpla0QzFWfJPyUct6iqyF0CjSO30o6Q42N1xRrLTp99kSN0AkMQ5PgCv_oTWL2FjUKO-eNAIYLgpKAOCJP890W2fEMjBZI5MA0M5aynNRQLGVi0Ia1HZrU/s1597/marveltv_wandavision.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="667" data-original-width="1597" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHPMe5BlodiBxmQjBCdiYzsGAaVTVdAHj2eNelmnNwtOShXPxbNZpQI8Xzibdt3WuBJDpla0QzFWfJPyUct6iqyF0CjSO30o6Q42N1xRrLTp99kSN0AkMQ5PgCv_oTWL2FjUKO-eNAIYLgpKAOCJP890W2fEMjBZI5MA0M5aynNRQLGVi0Ia1HZrU/w400-h168/marveltv_wandavision.png" width="400" /></span></a></div><div><span style="font-family: georgia;">Alongside Beck's score, we get television pastiche songs and WandaVision theme by Kristin Anderson-Lopez and Bobby Lopez. In the show, we also hear </span><span style="font-family: georgia;"><span style="color: #45818e;">Doctor Strange Theme</span> by Michael Giacchino and <span style="color: #45818e;">Avengers Theme</span> by Alan Silvestri.</span><div><span style="font-family: georgia;"><br /><b><span style="font-size: large;">The Falcon and the Winter Soldier (2021)</span></b><br />Series composed by <b>Henry Jackman</b></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNE5-17OmQGJUHr9X11Vvzwqb57f4Rs0gehhSL62DQwRrBkRYMvzspBBzF3s1H79Vg69wn-tPB9L4Z7cJAYFnChXYZA72U1Cu_r4krxEvKO35F8Rd_37z_XFQ96Zb7-y3q9M8P7aWkz7J0tHw58VbySQiF3_R08nK8eCzbvfv1CYON6LSfQdRfZo1/s1595/marveltv_falcon.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="663" data-original-width="1595" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNE5-17OmQGJUHr9X11Vvzwqb57f4Rs0gehhSL62DQwRrBkRYMvzspBBzF3s1H79Vg69wn-tPB9L4Z7cJAYFnChXYZA72U1Cu_r4krxEvKO35F8Rd_37z_XFQ96Zb7-y3q9M8P7aWkz7J0tHw58VbySQiF3_R08nK8eCzbvfv1CYON6LSfQdRfZo1/w400-h166/marveltv_falcon.png" width="400" /></a></div></span></div><div><span style="font-family: georgia;">Henry Jackman naturally continued to use his </span><span style="font-family: georgia;">Captain America, Falcon, Winter Soldier and Zemo </span><span style="font-family: georgia;">themes from <span style="color: #45818e;">Captain America: Civil War</span> and <span style="color: #45818e;">The Winter Soldier</span>. We also get a snippet from <span style="color: #45818e;">Black Panther Score</span> by Ludwig Göransson and a modernized version of </span><span style="font-family: georgia;"><span style="color: #45818e;">"The Star-Spangled Man"</span> by Alan Menken and David Zippel. </span></div><div><div><span style="font-family: georgia;"><br /></span></div><span style="font-family: georgia;"><b><span style="font-size: large;">Loki (2021)</span></b><br />Series composed by<b> Natalie Holt</b></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQaqYCt4Lk9UcnC9J_v993fCuC0wuDEnaMBnFlz1mTp_soGyc_7aTTh4KbYw5fviH-2enZkDgBjQw2UPShm40G4em6hE6pWlrSxSBeN_knYPpzL0n8E1CV-waucMqHMOn-b21nBIl6NcTyyx9vDkjLpe6DKxfRcfbtE9zd8xa-tITAXjT2ogzsVeAu/s1597/marveltv_loki.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="657" data-original-width="1597" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQaqYCt4Lk9UcnC9J_v993fCuC0wuDEnaMBnFlz1mTp_soGyc_7aTTh4KbYw5fviH-2enZkDgBjQw2UPShm40G4em6hE6pWlrSxSBeN_knYPpzL0n8E1CV-waucMqHMOn-b21nBIl6NcTyyx9vDkjLpe6DKxfRcfbtE9zd8xa-tITAXjT2ogzsVeAu/w400-h165/marveltv_loki.png" width="400" /></a></div></span></div><div><span style="font-family: georgia;">While showing flashbacks of Loki's past, we hear cues from <span style="color: #45818e;">The Avengers</span> by Alan Silvestri. </span></div><div><span style="font-family: georgia;"><br /><b><span style="font-size: large;">What If...? (2021)</span></b><br />Series composed by <b>Laura Karpman</b></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfYFcEi6YwVk6tnax8FSAvZWQtUAYMDAI0MT_RESQA771IcgxZSNvnb7iu5KUFSVZREL94pv5cM8isqxiMWR2UyT_e4w0PANBkrlXe_c09QTomLXshji-igpdrfDykE_dic7uyyf8-d-w9u_T0M_2qL-PSDXxsRE0166GI9AeTMclrc4UVv8oRl_Cp/s1599/marveltv_whatif3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="727" data-original-width="1599" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfYFcEi6YwVk6tnax8FSAvZWQtUAYMDAI0MT_RESQA771IcgxZSNvnb7iu5KUFSVZREL94pv5cM8isqxiMWR2UyT_e4w0PANBkrlXe_c09QTomLXshji-igpdrfDykE_dic7uyyf8-d-w9u_T0M_2qL-PSDXxsRE0166GI9AeTMclrc4UVv8oRl_Cp/w400-h181/marveltv_whatif3.png" width="400" /></a></div></span></div><div><div><span style="font-family: georgia;">This Marvel animated anthology showed off several different timelines. Laura Karpman was able to play in the musical sandbox and sprinkle in themes from several films including </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from Thor: Ragnarok</span> by Mark Mothersbaugh, </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from Thor</span> by Patrick Doyle, </span><span style="font-family: georgia;"><span style="color: #45818e;">Captain Marvel Theme</span> by Pinar Toprak, </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from Black Panther</span> by Ludwig </span><span style="font-family: georgia;">Göransson</span><span style="font-family: georgia;">, </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from Black Widow</span> by Lorne Balfe, </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from The Avengers</span> by Alan Silvestri, </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from Doctor Strange</span> by Michael Giacchino, and </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from Captain America: The First Avenger </span>by Alan Silvestri.</span></div><span style="font-family: georgia;"><br /><b><span style="font-size: large;">Hawkeye (2021)</span></b><br />Series composed by <b>Christophe Beck, Michael Paraskevas</b></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggZAY4PEDlHZy2aS-QLK6U33aRnirBf8Bjw75vmz3pY51tsMvz1PCz1kiixJMqV9__lbkyvKa4GWncarRtRBsCarjDrDhvQUqfJrcgviL7r3ILX72CipGQuuXfaMDxPopCk9NF0izG-pgcRSrUGsonA96-nREyJgU8pP7lD_GsvAYVC_rCQUcMYODN/s1597/marveltv_hawkeye.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1597" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggZAY4PEDlHZy2aS-QLK6U33aRnirBf8Bjw75vmz3pY51tsMvz1PCz1kiixJMqV9__lbkyvKa4GWncarRtRBsCarjDrDhvQUqfJrcgviL7r3ILX72CipGQuuXfaMDxPopCk9NF0izG-pgcRSrUGsonA96-nREyJgU8pP7lD_GsvAYVC_rCQUcMYODN/w400-h168/marveltv_hawkeye.png" width="400" /></a></div></span></div><div><div><span style="font-family: georgia;">In addition to the multiple Christmas needle drops, we hear </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from Avengers: Endgame</span> by Alan Silvestri and </span><span style="font-family: georgia;"><span style="color: #45818e;">Black Widow Theme</span> by Lorne Balfe. </span></div><span style="font-family: georgia;"><br /></span><div><span style="font-family: georgia;"><b><span style="font-size: large;">Moon Knight (2022)</span></b><br />Series composed by <b>Hesham Nazih</b></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLpB5AA-XwRu8SkaI_uPgYjFZ73xE346tMwZ9G7vgsLEqaGr5u6owI38FoBWpTV2tjgOOqJ5DbB-cjStTkbgdgXVtOVRLdqd4_VKqGdRqhtsCsoPdzh0NPHGD_RDEl9OcSiNS755104UErq6HnuOoAfHiY2kqePh1-z39dboBcSas-PWF0XBgPonIY/s1591/marveltv_moonknight.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="651" data-original-width="1591" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLpB5AA-XwRu8SkaI_uPgYjFZ73xE346tMwZ9G7vgsLEqaGr5u6owI38FoBWpTV2tjgOOqJ5DbB-cjStTkbgdgXVtOVRLdqd4_VKqGdRqhtsCsoPdzh0NPHGD_RDEl9OcSiNS755104UErq6HnuOoAfHiY2kqePh1-z39dboBcSas-PWF0XBgPonIY/w400-h164/marveltv_moonknight.png" width="400" /></a></div>Shockingly, Moon Knight doesn't musically reference any other MCU projects.<br /><br /><b><span style="font-size: large;">Ms. Marvel (2022)</span></b><br />Series composed by <b>Laura Karpman</b></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhysAE_4Iq9Jz88_sEvyvUg4gVXgO2-G86YGNfgpnB3kuqQGqD_leMz8ODr3JEqYfYCvEFpFAFAoCnJ2lEf_hdWYdKltYV7NiOEwY0nS9ZHXr1L3oYPzs4Ty72UKhVVGcvtNVQXvvF309gPjyNBjqBlk437Q_XcWobK0_oygCCIhD4zlUESSWgEOVGi/s1597/marveltv_msmarvel.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1597" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhysAE_4Iq9Jz88_sEvyvUg4gVXgO2-G86YGNfgpnB3kuqQGqD_leMz8ODr3JEqYfYCvEFpFAFAoCnJ2lEf_hdWYdKltYV7NiOEwY0nS9ZHXr1L3oYPzs4Ty72UKhVVGcvtNVQXvvF309gPjyNBjqBlk437Q_XcWobK0_oygCCIhD4zlUESSWgEOVGi/w400-h168/marveltv_msmarvel.png" width="400" /></a></div><div><span style="font-family: georgia;">Karpman featured several South Asian influences into her score which also includes another reference to </span><span style="color: #45818e;">"The Star-Spangled Man"</span> by Alan Menken and David Zippel and the briefest hint of <span style="color: #45818e;">X-Men '97 Theme</span> by Haim Saban and Shuki Levy [also used notably in <i>Doctor Strange in the Multiverse of Madness</i>]. </div></span></div><div><span style="font-family: georgia;"><br /><b><span style="font-size: large;">She-Hulk: Attorney at Law (2022)</span></b><br />Series composed by <b>Amie Doherty</b></span></div><div><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAukO-hdC9FjmxoU8js8NmqFdyU3PFpjQVd65FWaL_2-5djRv-vZUZg5EubHSMwfDD-5DS0-cj7zv-v3IaoZa-29gTZRcQ12Oi-8NwEjpAGdOA3nICTzxw1U8OiFqJUhpY2HnyRShzOGbGkWdRwvbY_mZxCDYb686WpEqZt2p9KbCmK5yjFKr-c5sA/s1597/marveltv_shehulk.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="663" data-original-width="1597" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAukO-hdC9FjmxoU8js8NmqFdyU3PFpjQVd65FWaL_2-5djRv-vZUZg5EubHSMwfDD-5DS0-cj7zv-v3IaoZa-29gTZRcQ12Oi-8NwEjpAGdOA3nICTzxw1U8OiFqJUhpY2HnyRShzOGbGkWdRwvbY_mZxCDYb686WpEqZt2p9KbCmK5yjFKr-c5sA/w400-h166/marveltv_shehulk.png" width="400" /></a></div></span></div><div><div><span style="font-family: georgia;">Doherty's fun modern score used references to </span><span style="font-family: georgia;"><span style="color: #45818e;">Themes from Black Panther</span> by Ludwig </span><span style="font-family: georgia;">Göransson, a surprising cameos of </span><span style="font-family: georgia;"><span style="color: #45818e;">Marvel Studios Fanfare</span> by Michael Giacchino, </span><span style="font-family: georgia;"><span style="color: #45818e;">Daredevil</span> by John Paesano [from the Netflix series], and </span><span style="font-family: georgia;"><span style="color: #45818e;">The Incredible Hulk Theme</span> by Joe Harnell [from the 1970s series].</span><span style="font-family: georgia;"> </span></div></div></div></div><div><span style="font-family: georgia;"><br /></span></div><div><span><div style="font-family: "Times New Roman";"><span style="font-family: georgia;"><b><span style="font-size: large;">Secret Invasion (2023)</span></b><br />Series composed by <b>Kris Bowers</b></span></div><div style="font-family: "Times New Roman";"><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqh9SPpnG5631F7Jt08ObGnmfhv6dtpY6ydzHLtgYdp9ooplTQWVAbreCyeUvTMCChFcOTYi5xNJhHu0xUooArLH993vCAGyL-MRSLacP7ihy-pR2ENdcnRYHXN2gOMgPb3nMH64TvbMmPRYzddZpIG12lR4s2TLooZapEloTRWYR4j4lDzFBGbwyFW2k/s1597/MCU_secretinvasion.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1597" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqh9SPpnG5631F7Jt08ObGnmfhv6dtpY6ydzHLtgYdp9ooplTQWVAbreCyeUvTMCChFcOTYi5xNJhHu0xUooArLH993vCAGyL-MRSLacP7ihy-pR2ENdcnRYHXN2gOMgPb3nMH64TvbMmPRYzddZpIG12lR4s2TLooZapEloTRWYR4j4lDzFBGbwyFW2k/w400-h168/MCU_secretinvasion.png" width="400" /></a></div></span></div><div><span><div style="font-family: "Times New Roman";">The Skrull spy story doesn't use past MCU musical motifs.</div><div style="font-family: "Times New Roman";"><br /></div><div><div style="font-family: "Times New Roman";"><span style="font-family: georgia;"><b><span style="font-size: large;">Loki Season 2 (2023)</span></b><br />Series composed by <b>Natalie Holt</b></span></div><div style="font-family: "Times New Roman";"><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGV9OvIxmGkb_T1dVKA7BtDflgSH7Jl1hg9baLnAAsSkzL1qfOXSt9bq7Ya-bdQx1j1YB_fYkOW9yEzYELXaTAyttbdUEYoOsoxOsPaZuF44Ey5LP6KTichPrXk2FmdfNrmQwxkFPCvfYPbJbBhL7NBqUprkUHCqvyfM8MMkz9Bv2rl4GzbJaRs88RZLI/s1597/MCU_Loki2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="1597" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGV9OvIxmGkb_T1dVKA7BtDflgSH7Jl1hg9baLnAAsSkzL1qfOXSt9bq7Ya-bdQx1j1YB_fYkOW9yEzYELXaTAyttbdUEYoOsoxOsPaZuF44Ey5LP6KTichPrXk2FmdfNrmQwxkFPCvfYPbJbBhL7NBqUprkUHCqvyfM8MMkz9Bv2rl4GzbJaRs88RZLI/w400-h181/MCU_Loki2.png" width="400" /></a></div></span></div><div><span><div style="font-family: "Times New Roman";">Like most of the first season, Holt doesn't reference other MCU projects.</div><div style="font-family: "Times New Roman";"><br /></div><div><div><span style="font-family: georgia;"><b style="font-family: "Times New Roman";"><span style="font-size: large;">What If...? Season 2 (2023)</span></b><br />Series composed by </span><b><span style="font-family: georgia;">Laura Karpman, Nora Kroll-Rosenbaum</span></b></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwprbYXPdOBxkRghTqzQir80Rr96BEDG-Oqxb6XsQhckKCLRW3oa5FwwLBAb6YKaRWHtwJL5MYZP0Fy5OT6XQ28qIvd8cu56LeBoy65ZEOPKCrnpa3IN7Wo_Vt_Uhk4IIFYvYY-8nZifLi5SMogiu4F56em1W3vYpfx3JMqQ0DvjHo4lPyGTOC0JRJQEI/s1599/MCU_Whatif2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="727" data-original-width="1599" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwprbYXPdOBxkRghTqzQir80Rr96BEDG-Oqxb6XsQhckKCLRW3oa5FwwLBAb6YKaRWHtwJL5MYZP0Fy5OT6XQ28qIvd8cu56LeBoy65ZEOPKCrnpa3IN7Wo_Vt_Uhk4IIFYvYY-8nZifLi5SMogiu4F56em1W3vYpfx3JMqQ0DvjHo4lPyGTOC0JRJQEI/w400-h181/MCU_Whatif2.png" width="400" /></a></div></b></div><div><span style="font-family: georgia;">This new season expands the possibilities with MCU themes sprinkled in like <span style="color: #3d85c6;">Winter Soldier's Theme</span> (Henry Jackman), <span style="color: #3d85c6;">T'Challa's Theme</span> (Ludwig </span><span style="font-family: georgia;">Göransson</span><span style="font-family: georgia;">), <span style="color: #3d85c6;">The Avengers Theme</span> (Alan Silvestri), <span style="color: #3d85c6;">Themes from Thor: Ragnarok</span> (Mark Mothersbaugh), <span style="color: #3d85c6;">Captain America Theme</span> (Alan Silvestri), <span style="color: #3d85c6;">Doctor Strange Theme</span> (Michael Giacchino), <span style="color: #3d85c6;">Killmonger's Theme</span> (Ludwig </span><span style="font-family: georgia;">Göransson</span><span style="font-family: georgia;">)</span></div></div></span></div></div></span></div></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-90590454096419731392022-10-22T19:27:00.001-05:002022-10-22T19:27:00.147-05:00Music Behind the Ride - Wonders of Life: Part 1<div><span style="font-family: georgia;">In this <b><u><span style="color: #990000;">Music Behind the Ride</span></u></b>, we're taking a trip back to the early days of EPCOT to the <b><span style="font-size: large;">Wonders of Life</span></b> pavilion. I'll dig into the history and music of these classic closed attractions.</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Z85-RYQnQoZYrfQOs8lgWAw_h4lETWX2FxgOPofuuj4H1hOXYqdipR_kjxxvCafyDf7quPIpLsXrYhCI9Dt-E8fJQQvmctE8SrrMgGlnwDn5HxfyawoFgGhaeV6WVeXxs73GMzecE1Jbd9PG0ffjDhy2KQ60BiM4AHpm_7Yjbkhj3LVn7hQzbgDb/s780/wondersoflife.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="440" data-original-width="780" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Z85-RYQnQoZYrfQOs8lgWAw_h4lETWX2FxgOPofuuj4H1hOXYqdipR_kjxxvCafyDf7quPIpLsXrYhCI9Dt-E8fJQQvmctE8SrrMgGlnwDn5HxfyawoFgGhaeV6WVeXxs73GMzecE1Jbd9PG0ffjDhy2KQ60BiM4AHpm_7Yjbkhj3LVn7hQzbgDb/w400-h226/wondersoflife.jpg" width="400" /></span></a></div><span style="font-family: georgia;"><br />Located in EPCOT's Future World, the Wonders of Life pavilion was sandwiched between the Universe of Energy and Horizons, opening in October 1989. Sponsored by MetLife, the pavilion gave guests a look at heath and fitness through rides, films and fitness machines. The pavilion was known for the golden dome and huge Tower of Life DNA strand at the entrance. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Let's start with the main attraction - </span><b style="font-family: georgia;"><span style="font-size: medium;">Body Wars</span></b><span style="font-family: georgia;">. The attraction used the same new film and simulator technology used in Disneyland's Star Tours. [In Walt Disney World, Body Wars opened a few months before the MGM Studios' Star Tours]. For the ride, you will be exploring the human body onboard the LGS-2050 Body Probe Vehicle. We hear from Dr. Cynthia Lair (Elisabeth Shue) who is inside a body studying how white blood cells attack a splinter. Mission Control introduces us to our Bravo 229 pilot, Captain Braddock (Tim Matheson), and tells us enter and buckle into our seats.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRxchU3al5w5-HSMyeUK1AzVx_CwzOTjXTVq4UawXhmSwGrVotY9wp7cJgL6-kCzMwwJZJX-_M7Kjd3KDJx3gnhro8TTIGpz008uW5QYFrz7zYTPvRM4djowmMsBeNduICBa2kU1y_oVLLf5-d2-l27g8jdNo9WBz80b4dEE5HrADrxAhXup8y1rp9/s1200/Body-Wars.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="630" data-original-width="1200" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRxchU3al5w5-HSMyeUK1AzVx_CwzOTjXTVq4UawXhmSwGrVotY9wp7cJgL6-kCzMwwJZJX-_M7Kjd3KDJx3gnhro8TTIGpz008uW5QYFrz7zYTPvRM4djowmMsBeNduICBa2kU1y_oVLLf5-d2-l27g8jdNo9WBz80b4dEE5HrADrxAhXup8y1rp9/w400-h210/Body-Wars.jpg" width="400" /></span></a></div><span style="font-family: georgia;"><br />The ship launches and miniaturizes as you launch under the skin. We see the splinter, white blood cells and spot Dr. Lair. She gets pulled into a capillary, and we follow her to the heart and lungs. Braddock shoots a laser to stun the cells as Dr. Lair boards the ship. Now the ship doesn't have enough energy to beam out, so we fly through the heart to the brain. The neurons fire, giving enough power to beam us back to the MET lab, where Mission Control tells us we broke all the rules but "managed to pull off the most spectacular mission".</span><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">The 7 minute film was directed by Leonard Nimoy, and was one of the first thrill rides at EPCOT. Speaking of thrill, the ride was notorious for being more intense than Star Tours. The combination of pulsing movement in the lungs and heartbeat sections, rough vehicle movements and anatomy subject led to frequent guests suffering motion sickness. <br /></span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">The music for the attraction was written by <b>Leonard Rosenman</b>. Rosenman recently had written the music for <i>Star Trek IV: The Voyage Home</i> (1986) directed by Nimoy and much earlier had written the score to <i>Fantastic Voyage</i> (1966) a similarly themed body exploration film. The music was first released on the Film Score Society album Alexander the Great and Other Rare Rosenman in 2012. </span></div><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtFXJfaTqj6vCtspfA7IiaLbwRhoYHhg3vkdx4oz8VKO4cVJnJWGKxwR4RjYonZbCUgzB3UC_7zv6mfIh-OMTpodlR4kuwtzn8mcZwZC5N12DkQly7o_dPpKxNxVi6Fki0EBNB5YQmw0Vp-2kEINQV7V-D18zfA-Tbyx4DpXAo_kYNiE9LAw5pXsT/s723/bodywarsad.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="723" data-original-width="604" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtFXJfaTqj6vCtspfA7IiaLbwRhoYHhg3vkdx4oz8VKO4cVJnJWGKxwR4RjYonZbCUgzB3UC_7zv6mfIh-OMTpodlR4kuwtzn8mcZwZC5N12DkQly7o_dPpKxNxVi6Fki0EBNB5YQmw0Vp-2kEINQV7V-D18zfA-Tbyx4DpXAo_kYNiE9LAw5pXsT/w334-h400/bodywarsad.png" width="334" /></span></a></div><div><span style="font-family: georgia;">In the next part, I'll explore the other attractions in the pavilion, including the other standout, <b>Cranium Command</b>. </span></div></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2628610689664372825.post-15319473755374162322022-09-17T11:45:00.001-05:002022-09-17T11:45:00.144-05:00Top 10 Scores Turning 10 in 2022<div><span style="font-family: georgia;"><span>Back to our musical score time machine! For this edition, we're looking back to <b><span style="font-size: large;">2012</span></b>! </span><span>Here's a look back at the scores of the year with my list of the </span><b><span style="font-size: large;">10 Best Scores Turning 10!</span></b></span></div><div><span style="font-family: georgia;"><span><span>Let's start the ranking!<br /><br /></span></span><b><span style="font-size: large;">10. The Master (Jonny Greenwood)</span></b><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimZ6YbjZusHmo1_1fx35bAv6pE6-1QsPjobyH7PfmYYfEYLaZspkruvU88S5O17iyHWNp9EX_c5GWUppwvbu0P3uyJU8ME0J12zaQMIJTPYZbuLOwbXWewUHLufBWnf9Z6zmD4iRzn3RAx0U11S-6nwo5rmmJcM8HefKeaRpL5MolALqCsk9NqXcfp/s600/12master.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimZ6YbjZusHmo1_1fx35bAv6pE6-1QsPjobyH7PfmYYfEYLaZspkruvU88S5O17iyHWNp9EX_c5GWUppwvbu0P3uyJU8ME0J12zaQMIJTPYZbuLOwbXWewUHLufBWnf9Z6zmD4iRzn3RAx0U11S-6nwo5rmmJcM8HefKeaRpL5MolALqCsk9NqXcfp/w200-h200/12master.jpg" width="200" /></span></a></div></div><div><span style="font-family: georgia;">Greenwood provides an unsettling score that digs at the dangerous underbelly of the characters. It's simple, yet complex with some hypnotic qualities - much like the film itself.<br /><br /><b><span style="font-size: large;">9. The Hobbit: An Unexpected Journey (Howard Shore)</span></b><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpGbxIBsRcyEBmXgYAiaAHQhewRi5O0yRNEFN_tOR54KsM6f2-uvAf4tUvPuni2joIg63bOKfQzUoGd8gz4X9pF8o6sTBhcE4XRPVcNWMeYswOFvXOPIOTr8JR7B4F_fNsmN_OKRqmHLJ9IQ2Az0lYKBZeZ0fG_bZz8JtFBWkXNmRLLAn7-4jEM_mv/s1500/12hobbit.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1447" data-original-width="1500" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpGbxIBsRcyEBmXgYAiaAHQhewRi5O0yRNEFN_tOR54KsM6f2-uvAf4tUvPuni2joIg63bOKfQzUoGd8gz4X9pF8o6sTBhcE4XRPVcNWMeYswOFvXOPIOTr8JR7B4F_fNsmN_OKRqmHLJ9IQ2Az0lYKBZeZ0fG_bZz8JtFBWkXNmRLLAn7-4jEM_mv/w200-h193/12hobbit.jpg" width="200" /></span></a></div></div><div><span style="font-family: georgia;">One of the most anticipated scores, Shore added lighter moments and a book's worth of new motifs that blend into his Middle Earth sound. It's a smaller adventure than LOTR, but still works in the sweeping adventure and nice character moments. <br /><br /><b><span style="font-size: large;">8. Skyfall (Thomas Newman)</span></b><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqn03QA7cdwmdrRD5Njfqbr6GEdMTsEna-nBAU3VJ3T3il5DOjvYImyFdxwZvLtJtJ0rtM5KrgfqbIGh5uJIjxJI7TA9RqGi1bHEi__fYrq8lIlFQd9mF1oRl7iGfO8BKyIO9TrC3SA3PmQBqWC-KFEkN4xay6qWCXHB5KwDbvARjEBb66YDMZLjdy/s640/12skyfall.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqn03QA7cdwmdrRD5Njfqbr6GEdMTsEna-nBAU3VJ3T3il5DOjvYImyFdxwZvLtJtJ0rtM5KrgfqbIGh5uJIjxJI7TA9RqGi1bHEi__fYrq8lIlFQd9mF1oRl7iGfO8BKyIO9TrC3SA3PmQBqWC-KFEkN4xay6qWCXHB5KwDbvARjEBb66YDMZLjdy/w200-h200/12skyfall.jpg" width="200" /></span></a></div></div><div><span style="font-family: georgia;"><span>Newman added his own intriguing style to the moody atmosphere of the film. We get plenty of action and emotional weight with interesting ways of including the musical Bond references.<br /><br /></span><b><span style="font-size: large;">7. The Amazing Spider-Man (James Horner)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiRGNj9R3QEUn0sUU1ith3M6FkRpje62a4T9Nx8eyHM1SWFo8yxue7tZ1whiKawPmeLR4Wb7yxOK5OS-dDXpGESRx2maugn-X1Z4RQmAaDBrhezKWfSf1Y7nR60TKHzDANFqUThPfjzXqd4upfVMtG5F6hSTAKmyZyh4nHu-wu6WpggTz2GpwfjH49/s1500/12spiderman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1500" data-original-width="1500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiRGNj9R3QEUn0sUU1ith3M6FkRpje62a4T9Nx8eyHM1SWFo8yxue7tZ1whiKawPmeLR4Wb7yxOK5OS-dDXpGESRx2maugn-X1Z4RQmAaDBrhezKWfSf1Y7nR60TKHzDANFqUThPfjzXqd4upfVMtG5F6hSTAKmyZyh4nHu-wu6WpggTz2GpwfjH49/w200-h200/12spiderman.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Horner made a big splash into superhero scoring and his Spider-Man theme is the strongest aspect of the score. He throws everything at the film - love theme, action and suspense with enough triumphant moments.<br /><br /><b><span style="font-size: large;">6. Journey 2: The Mysterious Island (Andrew Lockington)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWNWoaemDqrXLtjbkWRhcN6EWVVB4P0wMMcwNTMLNMSiFJu68CZ9iPQgfza_mItwBtLFkomWEalt99q6D5rhZBFj2wfhIKzTMQn5m1R4nc_zUMh62EHS7Xp40SwN_9WmKEfAciOOR-76hOuD0QsRViLvheMumxBPrDjFTtzRETn7YJyRNOlPfENFrx/s640/12journey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWNWoaemDqrXLtjbkWRhcN6EWVVB4P0wMMcwNTMLNMSiFJu68CZ9iPQgfza_mItwBtLFkomWEalt99q6D5rhZBFj2wfhIKzTMQn5m1R4nc_zUMh62EHS7Xp40SwN_9WmKEfAciOOR-76hOuD0QsRViLvheMumxBPrDjFTtzRETn7YJyRNOlPfENFrx/w200-h200/12journey.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">What a delight to hear a full adventure score with large intertwining themes. The orchestra and choir get to really show off with the majestic writing and energetic action sequences. More Andrew Lockington please!</span></div><div><span style="font-family: georgia;"><br /><b><span style="font-size: large;">5. The Impossible (Fernando Velazquez)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY6vXq85I90BMSftsY_C4yJnJY8uxOHrFJ4VsZ33JFvlWbqhyY94zPSE_atfKuWqagfn1r8yye8-s31pbF11WhfXIJyUMgsDxz8tyb1hQ43UIfXMXHIgO__JiTsg_2l--tR9Fj2WiQepvyGChKoLe3yj-uA7Zx6Z4BXX6Ngmn74RyY-DHU8AJcCX8f/s640/12impossible.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY6vXq85I90BMSftsY_C4yJnJY8uxOHrFJ4VsZ33JFvlWbqhyY94zPSE_atfKuWqagfn1r8yye8-s31pbF11WhfXIJyUMgsDxz8tyb1hQ43UIfXMXHIgO__JiTsg_2l--tR9Fj2WiQepvyGChKoLe3yj-uA7Zx6Z4BXX6Ngmn74RyY-DHU8AJcCX8f/w200-h200/12impossible.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Velazquez's achingly beautiful score starts right at the powerful main title theme which is used throughout the score. His somber theme is lovely on strings and piano and adds so much humanity to a film about a horrific tragedy. <br /> <br /><b><span style="font-size: large;">4. Brave (Patrick Doyle)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWs7TSvZmVD8kQlSgUp5OcTilc9WbPlFjAFjbXa2XAUDnf3Sa58_aMn03sC_jz1G5Cz3X_I2T_dm1HvllY8n9dLBj3W5ltZ9O_cE-aNnPENycnoNHysSrxqZl40GwLIZpyd9LguF6r6xgmFXs3b7IBuX8103s_oMl-H0bxtv2WgFIYEpUT2C2770LW/s1200/12brave.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1197" data-original-width="1200" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWs7TSvZmVD8kQlSgUp5OcTilc9WbPlFjAFjbXa2XAUDnf3Sa58_aMn03sC_jz1G5Cz3X_I2T_dm1HvllY8n9dLBj3W5ltZ9O_cE-aNnPENycnoNHysSrxqZl40GwLIZpyd9LguF6r6xgmFXs3b7IBuX8103s_oMl-H0bxtv2WgFIYEpUT2C2770LW/w200-h199/12brave.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Doyle's score captures the independent spirit of Merida with Celtic flair and instrumentation. His lilting melodies mix wonderfully with the sentimental music that culminates in the touching finale.<br /><br /><b><span style="font-size: large;">3. John Carter (Michael Giacchino)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOCSIaf6e7UKV8XmiRrNFcVuf_v19HPKEKVfihO-NhkDUnrHLvDNwrwrZ9bTrQmBV3u89A4CGET3VQgjoU2bhpbuMQ161OtNg6n_fT4hM_xuF8hiHZOt6ilw_UAg0v2Kcrl6j2KhFZTufmDv5wFswTbMLYMtFsqIWDhysQS5rKCoc3ILSWufZHcwYJ/s640/12johncarter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOCSIaf6e7UKV8XmiRrNFcVuf_v19HPKEKVfihO-NhkDUnrHLvDNwrwrZ9bTrQmBV3u89A4CGET3VQgjoU2bhpbuMQ161OtNg6n_fT4hM_xuF8hiHZOt6ilw_UAg0v2Kcrl6j2KhFZTufmDv5wFswTbMLYMtFsqIWDhysQS5rKCoc3ILSWufZHcwYJ/w200-h200/12johncarter.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Giacchino's score conjures up the Martian characters, epic set pieces and heroic adventure. Similar to his Star Trek scores, we get a large orchestra and choir action score full of intriguing themes. It's worth the listen, even without the mediocre film. <br /><br /><b><span style="font-size: large;">2. The Life of Pi (Mychael Danna)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcpr93L_s5BcEDPcRoWohWF1CkTVS9AMpdUf_wlYZoecsQfcHbj-HeUYmplYCKjJvwN85QgSswcy5UwKZjRA3Vc0-BSV-I2NnhPHUcChkoqoLBTt_NEnjJNiyKEZ5OA4cqYhqnwTjX-YsypBg2yCK-ld9ULfaB_Nbn4SuRASYAXf8BJFhXkL44w_c6/s640/12pi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcpr93L_s5BcEDPcRoWohWF1CkTVS9AMpdUf_wlYZoecsQfcHbj-HeUYmplYCKjJvwN85QgSswcy5UwKZjRA3Vc0-BSV-I2NnhPHUcChkoqoLBTt_NEnjJNiyKEZ5OA4cqYhqnwTjX-YsypBg2yCK-ld9ULfaB_Nbn4SuRASYAXf8BJFhXkL44w_c6/w200-h200/12pi.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Danna's Oscar winning score features lovely and oftentimes subtle melodies like Pi's Lullaby. Much of the score is emotional storytelling, with majestic choir and Indian influences. It's a spiritual score that matches with the film's beautiful imagery<br /><br /><b><span style="font-size: large;">1. Lincoln (John Williams)</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM1vDh3SOjwBj7OY0atVFbMzzqryJpjb9mk-feCABxHN-a2-nyfjAtY3-aLS9NJ0sDw0b8FWD9d18D35nAbUZsylvNc-aAvLTJ8JA1nz_4y-MxnLqRl_b3PHDMZpW8_fQIVGIa-svpoKe45YEy7dG6YqDHpYbRpQT_nv1yggujPIau-hkrvfS2YSXK/s1200/12lincoln.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1193" data-original-width="1200" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM1vDh3SOjwBj7OY0atVFbMzzqryJpjb9mk-feCABxHN-a2-nyfjAtY3-aLS9NJ0sDw0b8FWD9d18D35nAbUZsylvNc-aAvLTJ8JA1nz_4y-MxnLqRl_b3PHDMZpW8_fQIVGIa-svpoKe45YEy7dG6YqDHpYbRpQT_nv1yggujPIau-hkrvfS2YSXK/w200-h199/12lincoln.jpg" width="200" /></span></a></div><div><span style="font-family: georgia;">Williams stirs up his sentimental side with heavy doses of Americana melodies and harmonies. His stoic melodies for strings and soloists (with some great trumpet solos) are able to shine among the film's moving speeches. His introspective score is one of his finest and most intimate. <span><br /></span><br /><b>Honorable Mentions:</b><br />Beasts of the Southern Wild (Dan Romer, Benh Zeitlin)<br />The Best Exotic Marigold Hotel (Thomas Newman)<br />The Hunger Games (James Newton Howard)<br />Rise of the Guardians (Alexandre Desplat)<br />W.E. (Abel Korzeniowski)<br /><br />Any personal favorites of yours from 2012 that I didn't include? <br /></span></div><div><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-36207584498560094172022-08-25T16:50:00.001-05:002022-08-25T16:50:00.150-05:00Quick Review: Paws of Fury<div><div><div><span style="font-family: georgia;"><span style="font-size: large;"><b>Paws of Fury: The Legend of Hank</b></span><br />Music composed by Bear McCreary<br />Orchestra conducted by David Shipps<br />Additional music by Sam Ewing, Omer Ben-Zvi<br />Orchestrated by Benjamin Hoff, Jamie Thierman, Sean Barrett<br />Songs by Alan Zachary and Michael Weiner<br />Song orchestrations by August Eriksmoen, Alan Lee Silva<br />Score recorded at Sound Kitchen, Nashville<br />Album running time: 53 minutes<br />Available on Sparks and Shadows (digital)<br /></span><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvhf3L09wW-yeP_3EAUypf2ur4ZsaIkm1hxFwzQKOJL4Q8Ym5Mg8KXdlrDfH5uN4XQJ55ZHZ11PiIPn-yOPQ8pMNIcAZh9lCILNoA9W_hOD5fUNsHEAlbDHxbttt6cE-RIPoBxYrG_O3WiZCNvNOZlJv899wz_hCNlhk495veIEgthuYfQF2lMG1gr/s1000/pawsoffury.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1000" data-original-width="1000" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvhf3L09wW-yeP_3EAUypf2ur4ZsaIkm1hxFwzQKOJL4Q8Ym5Mg8KXdlrDfH5uN4XQJ55ZHZ11PiIPn-yOPQ8pMNIcAZh9lCILNoA9W_hOD5fUNsHEAlbDHxbttt6cE-RIPoBxYrG_O3WiZCNvNOZlJv899wz_hCNlhk495veIEgthuYfQF2lMG1gr/w240-h240/pawsoffury.jpg" width="240" /></span></a></div></div><span style="font-family: georgia;">Easily the most appealing aspect of this animated film is Bear McCreary's score. I really enjoyed his first animated film, 2017's <i>Animal Crackers</i>. Originally titled Blazing Samurai, the film is a semi-remake of <i>Blazing Saddles</i> (1974). For the score, McCreary was drawn to the styles of 1970's martial arts funk and 1960's spaghetti westerns. Hearing the inspirations of Lalo Schifrin and Ennio Morricone add to the fun. McCreary supplemented his orchestra with a small group of Asian instrumental soloists that are heard throughout. The two main songs were written by Broadway songwriters Alan Zachary and Michael Weiner - Shaft-style "<b>The Coolest Cat</b>" for the end credits and western "<b>Blazing Samurai</b>" opening title number. The score's main theme for Hank is based on the "Blazing Samurai" melody.<br /><br /><b>Samurai For Dummies</b> has the Hank theme tossed throughout the orchestra above the funky wah-wah guitar, bongos and brass hits. Henchman Ohga gets an imposing brass march in <b>Kakamucho Under Attack</b> as his gang enters the town. In <b>Ikachu</b>, we hear Ikachu's tango-esque theme, with woodwinds, pizzicato strings and woodblocks alongside his name chanted by the choir. <b>The Shogun</b> features brass fanfares and Asian touches, the cue ending with the Ikachu chant.<br /><br /><b>Hank's Escape</b> leans heavy into the blended Samurai-Jazz-Morricone. It's a great mix of styles and instrumentation with a nice blend of action and comedy. <b>Hank Meets Jimbo</b> reuses Hank's theme in a lyrical adaption for his solo Japanese instruments before evolving into a Morricone style theme for trumpets. <b>Signing the Contract</b> gives us a flighty version of Hank's theme with some John Powell-esque touches and brassy jam. <br /><br /><b>Fireside Flashback</b> is a great action cue full of taiko drums, Morricone trumpet solo, and jazzy pizzazz. <b>Enter the Sumo</b> brings more Morricone vibes with electric guitar, whistling, trumpet solos and and later adding jazzy elements and Ohga's theme with chanting choir. Meanwhile, <b>Sumo Fight</b> is a great mix of big band, wah-wah guitar, bongos and Japanese instruments. <b>Origami </b>features a lyrical/solemn version of the main theme with the traditional instruments taking the lead, which also continues into <b>Torn Contract</b>. <br /><br /><b>Jimbo's Sacrifice</b> quickly bursts on the scene with a rousing version of Hank's theme, later adding in Ikachu's theme and the Japanese instruments. There's some quick action beats, heavy dramatics and a light comedic moment at the end of the cue. For <b>The Battle of Kakamucho</b>, McCreary uses all the themes and it builds up to some bombastic orchestral moments and another rousing statement of Hank's theme. <b>Showdown on the Super Bowl</b> uses the main theme with spaghetti western-style whistling, big orchestral moments, and choir chants. <b>Samurai Hank</b> has a great versions of Hank's theme, with some quieter reprises snuck inside the exciting orchestral writing. The last moments of the score jumps straight back to 70's funk with Hank's theme taking the lead.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">McCreary's score really tells the action, comedy and emotion with his unique take on some familiar musical inspiration. While not over the top, we hear the tropes of the Schifrin 70's jazz, martial arts films and Morricone spaghetti westerns blended together. We've heard some of those ideas in films like <i>Kung Fu Panda</i> (2008) and <i>Rango </i>(2011), but McCreary uses them in some really creative ways. The score never feels frantic like the enjoyable Animal Crackers (2017) and his use of the song melody through the score is a blast. </span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-71856236629408100922022-08-04T20:08:00.001-05:002022-08-04T20:08:00.168-05:00Spotlight On...Despicable Me & Minions<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbfWMHCxld2XkcBkTi-8oug6wZKq4ZyNuAv93LwjFFjg2_Go0-tCRkJlUdEgpO_IX4ATj91F3Q2Ofb1zRUDaVLbfXavBffWd8zZrZOOG38EhB17nscEqAmudOI9IHJCDs9r_arKQXxTDV7DpkYvsQow05G_K76HdWC53LH9x2sveDdCIdn_uXzLVlF/s1920/minions.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1036" data-original-width="1920" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbfWMHCxld2XkcBkTi-8oug6wZKq4ZyNuAv93LwjFFjg2_Go0-tCRkJlUdEgpO_IX4ATj91F3Q2Ofb1zRUDaVLbfXavBffWd8zZrZOOG38EhB17nscEqAmudOI9IHJCDs9r_arKQXxTDV7DpkYvsQow05G_K76HdWC53LH9x2sveDdCIdn_uXzLVlF/w400-h216/minions.jpg" width="400" /></span></a></div><p><span style="font-family: georgia;">In this edition of <b><span style="font-size: large;">Spotlight On...</span></b> I'm entering the world of the blockbuster Illumination franchise - <b><span style="font-size: large;">Despicable Me</span></b> & <b><span style="font-size: large;">Minions</span> </b>spinoffs. In honor of the newest release, I'm looking back score by score in the series.</span></p><div><div><span style="font-family: georgia;"><span><span><b><span style="background-color: #fcff01; color: #2b00fe; font-size: large;">Despicable Me (2010)</span></b></span><br />Music by <b>Pharrell Williams, Heitor Pereira</b><br />Pharrell provided original songs and tunes that are featured as Gru's thematic material. The score features some breezy spy material, slight cartoony writing, and sweeter moments involving the girls. With Pharrell's songs being front and center, no official score album was released.<br /><br /><span style="background-color: #fcff01; color: #2b00fe; font-size: large;"><b style="font-size: medium;"><span style="font-size: large;">Despicable Me 2</span></b><b> (2013)</b></span><br />Music by </span><b>Heitor Pereira, </b><b>Pharrell Williams</b></span></div><div><span style="font-family: georgia;">Pharrell returns with new songs, the Minions are more prominent, and Pereira's score is overall more noticeable. The score is bolder, with more brass and electronics added. We get themes from the first film, more comic mayhem, slick spy material, as well as new Luchador-style material for El Macho. <span style="color: #2b00fe;">(Just listen to: Break-In, Going to Save the World, El Macho's Lair)</span><br /><br /><span style="background-color: #fcff01; color: #2b00fe; font-size: large; font-weight: bold;">Minions (2015)</span><br />Music by <b>Heitor Pereira</b><br />Pereira gets to really shine in his first solo score featuring a retro jazz ensemble, choir and several madcap styles. The previous Minion material gets expanded with a little extra for Kevin, Stuart and Bob. Scarlet Overkill, the new villain gets a theme. <span style="color: #2b00fe;">(Just listen to: Minions Through Time, Minion Mission, Greatest Renegade Unveiling)</span></span></div><div><span style="font-family: georgia;"><br /><span style="background-color: #fcff01; color: #2b00fe; font-size: large;"><b style="font-size: medium;"><span style="font-size: large;">Despicable Me 3</span></b><b> (2017)</b></span><br />Music by <b>Heitor Pereira</b><br />New villain Bathazar Bratt brings an 80s synth vibe alongside a wide variety of musical styles for Gru and Dru's trip to Freedonia. We also hear the returning Minion music along with the previous breezy spy comedy style and a nice mix of short lighthearted and sentimental cues. <span style="color: #2b00fe;">(Just listen to: My Brother!, Sneaking, Rejected Me, Back and Bigger Than Ever)</span></span></div><div><span style="font-family: georgia;"><span style="color: #6aa84f;"><br /></span></span></div><div><span style="font-family: georgia;"><span><span style="color: #2b00fe; font-size: large;"><b style="background-color: #fcff01;">Minions: The Rise of Gru (2022)</b></span><br style="color: black;" /><span style="color: black;">Music by </span><b style="color: black;">Heitor Pereira</b><br style="color: black;" /><span style="color: black;">Pereira offers up some plenty of 1970s funk to match the setting, adding in Kung Fu stylings and seemingly longer action cues in between songs. Of course we still get comic Minion material, matching their wilder situations in the action. </span><span style="color: #2b00fe;">(Just listen to: Vicious Funk, Intruders, Zodiac Battle)</span></span></span></div><div><span style="font-family: georgia;"><br /><br /><div style="text-align: center;"><div style="background: 0px 0px white; border: 0px; font-size: 16px; line-height: 22.176px; outline: 0px; padding: 0px; vertical-align: baseline;"><div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; line-height: 22.176px; outline: 0px; padding: 0px; vertical-align: baseline;"><b><u>Look for others franchises in my Spotlight On series:</u></b></div><div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; line-height: 22.176px; outline: 0px; padding: 0px; vertical-align: baseline;">Harry Potter, Batman, James Bond, Star Trek, Marvel Cinematic Universe, X-Men, Spider-Man, Superman, Transformers, Planet of the Apes, The Hunger Games, The Fast and the Furious, Mission Impossible, Rambo, The Terminator, MonsterVerse</div></div></div></span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-27700353891403447072022-07-10T22:00:00.002-05:002022-07-10T22:00:00.157-05:00Quick Review: Lightyear<span style="font-family: georgia;"><span style="font-size: x-large;"><b>Lightyear</b></span><br />Music composed by <b>Michael Giacchino</b></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqpJK8wfH_Waw45-u2HbLgAx2Qcdzqpju6g7DihdPdifPRccn2XUbKxpc1-xlXA-C1jDKVNteVANQjySeIa5My239nHaphHNJMGrmW7AQQEgvkr2yXT0SqQA8kwSHK0DJQIAZ7tpqSb1vIs2DW6RdydmXkYScTgKev-rPFHrI6WVfmccdfbqfmcDU3/s1024/lightyear.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: right;"><img border="0" data-original-height="1024" data-original-width="1024" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqpJK8wfH_Waw45-u2HbLgAx2Qcdzqpju6g7DihdPdifPRccn2XUbKxpc1-xlXA-C1jDKVNteVANQjySeIa5My239nHaphHNJMGrmW7AQQEgvkr2yXT0SqQA8kwSHK0DJQIAZ7tpqSb1vIs2DW6RdydmXkYScTgKev-rPFHrI6WVfmccdfbqfmcDU3/w192-h192/lightyear.jpeg" width="192" /></a><span style="font-family: georgia;">Orchestrated by Jeff Kryka, Pedro Osuna</span><div><div><div style="background: 0px 0px rgb(255, 255, 255); border: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></div></div><div><div style="background: 0px 0px rgb(255, 255, 255); border: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: 0px 0px; border: 0px; font-family: georgia; outline: 0px; padding: 0px; vertical-align: baseline;">Additional music by Curtis Green</span></div><div style="background: 0px 0px rgb(255, 255, 255); border: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: 0px 0px; border: 0px; font-family: georgia; outline: 0px; padding: 0px; vertical-align: baseline;">Orchestra conducted by Marshall Bowen</span></div><div style="background: 0px 0px rgb(255, 255, 255); border: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background: 0px 0px; border: 0px; font-family: georgia; outline: 0px; padding: 0px; vertical-align: baseline;">Music edited by Stephen M. Davis<br />Score recorded at Warner Bros Eastwood Scoring Stage</span></div><span style="font-family: georgia;">Album running time: 76 minutes<br />Available on Walt Disney Records</span></div><div><span style="font-family: georgia;"><br /></span><div><span style="font-family: georgia;">For <b>Lightyear</b>, we return to the <i>Toy Story</i> universe (in a convoluted way that's mentioned at the top of the film). Here, Buzz Lightyear is a real Space Ranger from Star Command and we get to see his adventures. Musically, we get Michael Giacchino returning for his <u>eighth </u>Pixar animated film, having done the music for <i>The Incredibles</i>, <i>Ratatouille</i>, <i>Up</i>, <i>Cars 2</i>, <i>Inside Out</i>, <i>Coco</i>, <i>Incredibles 2</i>. That's one less than Randy Newman. Speaking of Newman, we don't hear any musical references to his <i>Toy Story</i> scores.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Giacchino's score heavily features three main themes - Buzz's theme, Zurg's theme and the Hawthorne theme. The score uses a big orchestra and choir (all sections were recorded separately due to COVID restrictions) to get that big sci-fi adventure sound. The themes work well, Buzz's theme is hummable and able to be noble and heroic. Zurg's theme is full villain-mode and the Hawthorne theme is saved for the tender moments, reminiscent of his <i>Lost </i>material.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">We hear the militaristic snare drum in <b>Mission Log</b>, followed by the introduction of Buzz's theme. <b>Initial Greetings</b> jumps into action mode, with rapid string/woodwind runs, and large brass presence. <b>Lightyear </b>continues the military snare with Buzz's theme in hero mode before building the theme up until the end of the cue. <b>The Best Laid Plans of Space and Men</b> continues Buzz's theme in the forefront with some electronics underneath. <b>Blown on Course</b> adds some anxiety into the mix with Buzz's theme added underneath a dancing string line. Brass lead the charge in some great sci-fi style writing. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">We get a bit of reflective music in <b>A Hyper Failure</b>, with a bit of mysterious drama after a sting. That tone continues in <b>Lightyear's Behind</b>, adding a poignant piano solo of the Hawthorne theme. <b>Mission Perpetual</b> focuses on Buzz's relentless need to correct his original mission. Naturally, it focuses on the driving strings and snare with several statements of Buzz's theme. <b>The Lone Space Ranger</b> continues with the poignant Hawthorne theme for strings and piano. <b>Afternoon Delight Speed</b> features some frantic writing with a sneaky interlude before hammering in a large end. The brief cues <b>Light Speed at the End of the Tunnel</b> and <b>Relative Success</b> burst with repeating patterns for the whole orchestra. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Zurg Awakens</b> finally introduces parts of the villain's theme with high shrieking strings, low brass and ominous choir. <b>Operation Surprise Party</b> is a bit of comic underscoring with a hint of Buzz's theme. <b>A Good Day to Not Die</b> has some roaring brass and stomping rhythm. The full brass and choir open <b>Zurg's Displeasure</b> with Zurg's theme in full villain march mode. <b>Space Afraiders</b> starts with a bit of light pizzicato strings and clarinet before ostinato strings bring action and then a big statement of Zurg's theme. Zurg's theme is mixed in the frantic action in <b>Zurg-onomics</b> with some heroic moments mixed in with the over-the-top villain material. <b>Oh, Hover</b> keeps the movement going with a fun motif getting passed around the orchestra.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>Mistake It All In</b> features the Hawthorne theme after some action. <b>Buzz, Meet Zurg</b> has a full grandiose stomping sound of Zurg's theme with choir and organ. <b>To Infinity and Be Gone</b> uses the Hawthorne material, but a bit more reflective, and then picking up the speed in <b>Hawthorn In Her Side</b>. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><b>World’s Worst Self-Destruct Sequence</b> brings the militaristic momentum back, with a brief Zurg theme interruption. <b>Time to Space Your Fears</b> again has Zurg interruptions among the militaristic tension building. <b>Hiding from Yourself</b> uses Zurg's theme with Buzz's theme bursting through in <b>Improv-Izzy-tion</b>. The orchestra gets to really show off in <b>Back to Buzzness</b>, with bright brass and rapid strings playing off Buzz's and Zurg's themes. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">In <b>Home on the Space Range</b>, we hear a long build-up of Buzz's theme before the film's most optimistic and heroic statement of the theme. <b>Infinite MOEtion</b> adds the choir and electric guitar to Buzz's theme, with the Hawthorne theme overlaid in some sections. It's a fun wrap-up of the thematic material with an end credit flair. <b>One Suite Buzz</b>, is naturally a longer exploration of the main themes in slightly different arrangements with Buzz's fanfare getting the most repetition. </span></div><div><span style="font-family: georgia;"> </span></div><div><span style="font-family: georgia;">Giacchino's themes are the highlight of the score, and are used extensively through the score but not at the levels of The Batman. It's nice to get a fully orchestral (with choir!) animated sci-fi score and it's fun to hear a few of Giacchino's score influences mixed into the action. It doesn't drift into cartoonish sounding, with the score grounding the characters and adding the necessary emotional beats. Buzz's theme matches the film's version of the character and adds that hopeful and heroic moments the film needed.</span></div></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2628610689664372825.post-46836243836381123292022-06-22T15:00:00.001-05:002022-06-22T15:00:00.163-05:00Top 10 Scores Turning 20 in 2022<div><div><span style="font-family: georgia;"><span>Back to our musical score time machine! For this edition, we're looking back to <b><span style="font-size: large;">2002</span></b>! </span><span>Here's a look back at the scores of the year with my list of the </span><b><span style="font-size: large;">10 Best Scores Turning 20!</span></b></span></div><div><span style="font-family: georgia;"><span><br />Let's start the ranking!<br /><br /><span style="font-size: large;"><b>10. </b></span></span><span style="font-size: large;"><b>The Hours (Philip Glass)</b></span></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-NzGMOlkxtpTNICpbxfbAyYge48kKaa2Fd1gcX261frsaov4pvO-bt0GG2CTOHKZtcwRe_kpdM7ZSDSR27qH21BYwoUpmI0XHMILqb8Aw4jIp93xX6KgGSrk5qhj1EhLyQ1oIB7XPmm33jQZ9wDcB045ev3fXWo2-w0e1zoKIjBOXBZxiH6xeCah/s1500/02hours.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1329" data-original-width="1500" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-NzGMOlkxtpTNICpbxfbAyYge48kKaa2Fd1gcX261frsaov4pvO-bt0GG2CTOHKZtcwRe_kpdM7ZSDSR27qH21BYwoUpmI0XHMILqb8Aw4jIp93xX6KgGSrk5qhj1EhLyQ1oIB7XPmm33jQZ9wDcB045ev3fXWo2-w0e1zoKIjBOXBZxiH6xeCah/w200-h178/02hours.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Glass' minimalist score for (mainly) piano and strings helps link the disparate stories of the three lead women. His repetitious patterns are always in the floating in the background but are excessive to those that don't care for Glass' work.</span></div><div><span style="font-family: georgia;"><span><span><br /></span><span style="font-size: large;"><b>9. </b></span></span><b><span style="font-size: large;">Minority Report (John Williams)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7AsVumV4YwZ_TRtOYQ3fUssMyEG_t3572UsNgrLdcNaqJmL-2IZ3YPwjswqQuH3c03C0Jx-6Pz_FEViaseFcENZPHeado4fwSFa3PamvZfGtfGwYv72RZZToXCHqSyopuD5LvKXNZuR7FEcFR712edaSUEbsUDy7-7IZSA4dUgsTxdik-datN78mw/s500/02minority.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7AsVumV4YwZ_TRtOYQ3fUssMyEG_t3572UsNgrLdcNaqJmL-2IZ3YPwjswqQuH3c03C0Jx-6Pz_FEViaseFcENZPHeado4fwSFa3PamvZfGtfGwYv72RZZToXCHqSyopuD5LvKXNZuR7FEcFR712edaSUEbsUDy7-7IZSA4dUgsTxdik-datN78mw/w200-h200/02minority.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Williams matched Spielberg's dark future with a noir score that is often dissonant and Herrmann-esque. Repeating figures add to the suspense, with the standouts being the lost son's theme and action material.</span></div><div><span style="font-family: georgia;"><span><br /><b><span style="font-size: large;">8. </span></b></span><b><span style="font-size: large;">Harry Potter and the Chamber of Secrets (John Williams)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNOM-be_tqm2lHr09GD1fHt5sPel0GIPEnHPhaxO62b3FoF0i9LR9y8tP8D7NgMGh75eYAuE_nHQFZ_-zY0iAqhR5vVfxP36VwN-K6mE0Wk20agSi7Ty3u3eMF_QZIuhfK5YGiPtoz7RGSJDvSPD9lg9FiEdE3FwiLEG-opCX8xK0vzLPBS7srd4Ws/s600/02harrypotter.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNOM-be_tqm2lHr09GD1fHt5sPel0GIPEnHPhaxO62b3FoF0i9LR9y8tP8D7NgMGh75eYAuE_nHQFZ_-zY0iAqhR5vVfxP36VwN-K6mE0Wk20agSi7Ty3u3eMF_QZIuhfK5YGiPtoz7RGSJDvSPD9lg9FiEdE3FwiLEG-opCX8xK0vzLPBS7srd4Ws/w200-h200/02harrypotter.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Much has been written about the reuse and rearranging of cues from the first Harry Potter film with many of those tracked moments helping establish the characters and locations. Even in his busy year, Williams added new themes that expand on the last film and featured in concert arrangement on the album. The highlight is easily the magical cue, Fawkes the Phoenix.</span></div><div><span style="font-family: georgia;"><span><br /><b><span style="font-size: large;">7. </span></b></span></span><b style="font-family: georgia;"><span style="font-size: large;">Frida (Elliot Goldenthal)</span></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAj4puDU08AuVrvzpgQud3BZPAnfIY38x84K1D6qX7PXMV2c9hU3sr041Zi3XMamwvXiOeL1UzW-8NK8btSbjd74Mo2X1OgoTwYBdSf_ECpqR9y9ocMwULg0FyslU70_3oTHAOwMbj71YNWilWlSFMu59Z1BmuWN_lCfXhJZoiLcPTdZI3uemu9rl6/s470/02frida.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="466" data-original-width="470" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAj4puDU08AuVrvzpgQud3BZPAnfIY38x84K1D6qX7PXMV2c9hU3sr041Zi3XMamwvXiOeL1UzW-8NK8btSbjd74Mo2X1OgoTwYBdSf_ECpqR9y9ocMwULg0FyslU70_3oTHAOwMbj71YNWilWlSFMu59Z1BmuWN_lCfXhJZoiLcPTdZI3uemu9rl6/w200-h198/02frida.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Goldenthal adapted his style, using a simpler orchestration and harmony to help marry his Mexican-esque melodies to the traditional Mexican folk songs peppered throughout the film (and some songs written by Julie Taymor and Goldenthal). His unique sound shines through some of the cues and helps underscore the film's striking images. </span></div><div><span style="font-family: georgia;"><span><br /><b><span style="font-size: large;">6. </span></b></span></span><b style="font-family: georgia;"><span style="font-size: large;">Spider-Man (Danny Elfman)</span></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM-gfe-u4fbRbcK004bSYUATyx0Dh6IiNiejnvr7BY03783wXDxgqUGg1L1zR1tu9bZL9T-6YwYoCHMw0BiB-hEEUEBqTltTDaqzPbIfSRaw2zhX_4AejQKjINe7XdZPMCYz79VsQMIcSEtvrvDzIJZuCJrS-He-UQBAnS8ADgUzxt8bsl0b8inynr/s1500/02spiderman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM-gfe-u4fbRbcK004bSYUATyx0Dh6IiNiejnvr7BY03783wXDxgqUGg1L1zR1tu9bZL9T-6YwYoCHMw0BiB-hEEUEBqTltTDaqzPbIfSRaw2zhX_4AejQKjINe7XdZPMCYz79VsQMIcSEtvrvDzIJZuCJrS-He-UQBAnS8ADgUzxt8bsl0b8inynr/w200-h200/02spiderman.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Elfman showed a new side to his superhero scoring. His rousing Spider-Man theme during the swinging scenes is still the gold standard for the character. He managed to also include a fun side for Peter's transformation, somber responsibility, with dark synth and percussion of the Goblin. The energy and propulsive music helped later Marvel scores. </span></div><div><span style="font-family: georgia;"><span><br /><b><span style="font-size: large;">5. </span></b></span></span><b style="font-family: georgia;"><span style="font-size: large;">Far From Heaven (Elmer Bernstein)</span></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlRi-M-iBYZq5UsculDXoQwexaXrMKG93vCuxZVoQ9vbHLKS0eGHDOPhZ3d1lycQqrLNrwRgeEa-q_rqWZftE0BEgMCObOQOFtxy88r9RE4qx1QxCEPYKyJ7Z81wzE6qHGm9RdLPwLIYY44sHRAY2XwC6FdFZILI6sDvP2e4MDEuNKx-1KgrWNFTs/s300/02farfromheaven.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlRi-M-iBYZq5UsculDXoQwexaXrMKG93vCuxZVoQ9vbHLKS0eGHDOPhZ3d1lycQqrLNrwRgeEa-q_rqWZftE0BEgMCObOQOFtxy88r9RE4qx1QxCEPYKyJ7Z81wzE6qHGm9RdLPwLIYY44sHRAY2XwC6FdFZILI6sDvP2e4MDEuNKx-1KgrWNFTs/w200-h200/02farfromheaven.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Bernstein's final film score is lyrical and romantic, matching the 1950s-set melodrama. We hear plenty lush strings and solo piano in his restrained chamber ensemble. Bernstein showed his talent at letting us hear the characters through music.</span></div><div><span style="font-family: georgia;"><span><span><span style="background-color: white;"> </span></span><br /><span style="font-size: large;"><b>4. </b></span></span><span style="font-size: large;"><span><span><b>Road to Perdition </b></span></span><b>(Thomas Newman)</b></span></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig85LxBjinqD7fOEFM7_dRaHuNkKcxCH4J3ij3lcWi-TnDgLA894cH4wFRxoQeFN_IC-gOfWzs7RrHWlwjW-gGQjsmk6IlCDLU5zFBsYOj_BmpkmE1bixwVQbc4OVBYxH_oOtdXp-pOgK3D5puP9WOfH-khkz8kpb42TGW37fiwo7EqC9Bf7QTzQ4i/s500/02road.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig85LxBjinqD7fOEFM7_dRaHuNkKcxCH4J3ij3lcWi-TnDgLA894cH4wFRxoQeFN_IC-gOfWzs7RrHWlwjW-gGQjsmk6IlCDLU5zFBsYOj_BmpkmE1bixwVQbc4OVBYxH_oOtdXp-pOgK3D5puP9WOfH-khkz8kpb42TGW37fiwo7EqC9Bf7QTzQ4i/w200-h200/02road.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Like their previous collaboration on American Beauty, Newman's score shines. Full of Newman's unique style, it features some great emotional underscoring and Celtic influences for the darker moments. </span></div><div><span style="font-family: georgia;"><span><br /><b><span style="font-size: large;">3. </span></b></span><b><span style="font-size: large;">Signs (James Newton Howard)</span></b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvXCrdsj9sYdbc3tOz87v6yt2jzb6Niel4ukKf81J51tDF1u7KnAmCXbTPY3CmotkGMbYlJmJbYVjOiqTPwh_A34pRGvsdDylPZt4hzNQueCNqAS9G9c05j85wDKm4jKHzreNiTozQXWuLTmCMrLSkdu_b_OrJXkRX5-3i9M4uZXwEb1AbC7W6h7K/s300/02signs.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvXCrdsj9sYdbc3tOz87v6yt2jzb6Niel4ukKf81J51tDF1u7KnAmCXbTPY3CmotkGMbYlJmJbYVjOiqTPwh_A34pRGvsdDylPZt4hzNQueCNqAS9G9c05j85wDKm4jKHzreNiTozQXWuLTmCMrLSkdu_b_OrJXkRX5-3i9M4uZXwEb1AbC7W6h7K/w200-h200/02signs.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">It's amazing how much transformation Howard got from the 3-note motif first heard in the main titles. It's heard through the ominous suspense cues and even the softer moments. Everything builds to the emotional climax - one of his shining moments.</span></div><div><span style="font-family: georgia; font-size: large;"><span><br /><b><span>2. </span></b></span><b>Catch Me If You Can (John Williams)</b></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglj5Tt78m-_eppY91igMIj3ECh4404S0o_tL63bMnf1sO03fxAJcMT08vCK4ue54hAul_gRlSe9cm6OiWH-ekin3RHFKXBo7pJzaGxcQciX0bAkORThaNcof8A0x-JTVj6h35uY5iXVDdUH2YnGCll17flsWLWprRuo6d98sC112Z43vnjGpEmI3Xz/s316/02catchme.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglj5Tt78m-_eppY91igMIj3ECh4404S0o_tL63bMnf1sO03fxAJcMT08vCK4ue54hAul_gRlSe9cm6OiWH-ekin3RHFKXBo7pJzaGxcQciX0bAkORThaNcof8A0x-JTVj6h35uY5iXVDdUH2YnGCll17flsWLWprRuo6d98sC112Z43vnjGpEmI3Xz/w200-h200/02catchme.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">Williams got to show off elements from his jazz past starting with the great animated title sequence. His triumphant light music heard in The Float is the standout. Overall, the music emphasizes the fun caper and also supports the darker drama. </span></div><div><span style="font-family: georgia;"><span><br /><b><span style="font-size: large;">1. </span></b></span><span style="font-size: large;"><span><b><span>The Lord of the Rings: The Two Towers </span></b></span><b>(Howard Shore)</b></span></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvBb1w-PgFstmP9YLYfZsOXpkidVYadlP7hGJBDFk3lsTJwll19-54JgBgbkClemkTdrSTkzHPIpsAIMfWgdX4VA0rIBGAfRz_zvk8q_71JyTeSiFIngslnooSc6KqJqogRwkd5Jp3TTZ2VzGqxpoGgO8ompgkuXMfHxkjcuc4c9s9M-W3yQZOOi9o/s355/02twotowers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="355" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvBb1w-PgFstmP9YLYfZsOXpkidVYadlP7hGJBDFk3lsTJwll19-54JgBgbkClemkTdrSTkzHPIpsAIMfWgdX4VA0rIBGAfRz_zvk8q_71JyTeSiFIngslnooSc6KqJqogRwkd5Jp3TTZ2VzGqxpoGgO8ompgkuXMfHxkjcuc4c9s9M-W3yQZOOi9o/w200-h200/02twotowers.jpg" width="200" /></a></div></div><div><span style="font-family: georgia;">With a considerably darker movie, Shore had to weave several action moments with the thematic work of the previous film. He expands the world with excellent vocal and instrumental solos, theme for Rohan, Helm's Deep sequence and the eerie end credits song. It's a great score, stuck between two other fantastic scores.</span></div><div><span style="font-family: georgia;"><span><span style="background-color: white; line-height: 22.176px;"><span><span style="font-weight: bold; line-height: 22.176px;"><span><span style="font-weight: 400;"><br /></span></span></span></span></span><b style="background-color: white; line-height: 22.176px;"><span><b style="line-height: 22.176px;"><span>Honorable Mentions:</span></b></span></b></span><br /></span><div><div><span style="font-family: georgia;">Ice Age (David Newman), Return to Neverland (Joel McNeely), Star Wars Episode II Attack of the Clones (John Williams), The Sum of All Fears (Jerry Goldsmith), The Time Machine (Klaus Badelt), Treasure Planet (James Newton Howard)</span></div><div><br /></div></div><span><span style="font-family: georgia;"><span><span style="line-height: 22.176px;"></span></span><span style="background-color: white; line-height: 22.176px;"><span style="line-height: 18px;">Any personal favorites of yours from 2002 that I didn't include? </span></span></span></span></div></div><div><br /></div>Unknownnoreply@blogger.com0