The World is Quiet Here

30 DAY FILM SCORE CHALLENGE

Day 30: Your favorite song from your favorite film score

“Whisper of a Thrill” from Meet Joe Black (1999), composed by Thomas Newman.

30 DAY FILM SCORE CHALLENGE

Day 13: A song from a film score that makes you sad

“’Freedom!’/The Execution/Bannockburn” from Braveheart (1995), composed by James Horner.

Goosebumps.

30 DAY FILM SCORE CHALLENGE

Day 12: A song from a film score that makes you happy

“Presenting the Hook” from Hook (1991), composed by John Williams.

One of those scores that is far better than the movie deserves.  If only the movie had been this good! This track in particular, beginning around 1:55, shines as it introduces Captain Hook’s theme.

From the liner notes:

When Peter arrives in Neverland he is greeted by the disconcerting sight of a crazed clock (with the hour hand spinning forward and the minute hand spinning backward) sitting in the gaping mouth of a large stuffed crocodrile. William’s onomatopoeic orchestration leads to the revelation of the pirate village, giving a jig-like tune for recorders and fiddles. 

After a brief altercation with the pirates, Tinkerbell disguises Peter as a pirate so he will blend in with the natives. Williams utilizes his ‘Low Below’ melody to capture the prevailing mood of skullduggery, followed by the first appearance of Hook’s own theme. The music builds as a jaunty Smee takes the newly polished hook to the captain and the pirates begin a rhythmic chant, shouting ‘Give us the hook!’ and ‘Show us the hook!’

30 DAY FILM SCORE CHALLENGE

Day 11: A song from a film score you think is underrated

“The Church of Glass” from Oscar and Lucinda (1997), composed by Thomas Newman.

I’m not sure if this is underrated as much as it is unknown.  This track in particular I think is one of Thomas Newman’s most powerful, most concise works.  It features many of his hallmarks: An ostinato in the bass part; unique chord progressions; unusual percussion (in this case, wind chimes); emotion building to a fever pitch.

30 DAY FILM SCORE CHALLENGE

Day 8: A song from a film score without words

“Forbidden Friendship” from How to Train Your Dragon (2010), composed by John Powell.

Most scores don’t contain words, so I’m going to assume that this one gives me license simply to post something I like.  So without further ado…

30 DAY FILM SCORE CHALLENGE

Day 7: A song from a movie remake that was better than the original. 

“The Wicked Flee” from True Grit (2010), composed by Carter Burwell.

Call me crazy, but I much preferred the Coen Brothers’ remake to the original John Wayne version.  I loved the cinematography, the language, the characterizations, the revelation that is Hailee Steinfeld.  But most especially, I love Carter Burwell’s score.  

In general I think Burwell is underrated as a film composer.  More than simply being “serviceable,” like Desplat or Howard or Powell or Gregson-Williams, Burwell captures the mood in intimate films and expresses it sonically in a very unique way.  He’s more about chord progressions and ideas than big statements.  In fact, his “big” scores—Twilight, Rob Roy—I think are lesser efforts.  But listen to this, and also Fargo, The Hudsucker Proxy, Being John Malkovich, The Man Who Wasn’t There, and you’ll hear gorgeous themes that resonate deep within.

30 DAY FILM SCORE CHALLENGE

Day 5: A song from a television score.

“LAX” from LOST (2010), composed by Michael Giacchino.

There has never been a piece of music composed for television like the score Michael Giacchino wrote over six seasons of LOST.  This track, from the opening scene of the sixth season premiere, is by far my favorite.

30 DAY FILM SCORE CHALLENGE

Day 4: A song from an arrangement film score (film score based on other classical pieces, e.g. The Soloist, V for Vendetta, Black Swan, etc.)

“Round-Up” from Babe (1995), composed by Nigel Westlake

This theme is a variation on Lyric Piece No. 28 (Spring) by Edvard Grieg.

30 DAY FILM SCORE CHALLENGE

Day 3: A song from a film score written by two or more composers.

“Promontory” from The Last of the Mohicans (1992), composed by Randy Edelman & Trevor Jones.

My favorite track from this excellent score was later used in a 2007 Nike commercial.  The story behind having two composers on this film is as follows: Director Michael Mann initially asked Trevor Jones to provide an electronic score for the film, but late in the game, it was decided an orchestral score would be more appropriate for this historic epic. Jones hurried to re-fashion the score for orchestra in the limited time remaining, while the constant re-editing of the film meant music cues sometimes had to be rewritten several times to keep up with the new timings. Finally, with the release date looming, composer Randy Edelman was called in to score some minor scenes which Jones did not have time to do. Jones and Edelman received co-credit on the film (thus making this very popular and acclaimed score ineligible for Oscar consideration).

30 DAY FILM SCORE CHALLENGE

Day 1: A song from the first score you owned.

“Theme from Jurassic Park” from Jurassic Park (1993), composed by John Williams.

This was not only the first score I owned, it was the first CD I ever owned, purchased with money I saved for months in 1993.  I had gone to see Jurassic Park on my first date, and spent most of that summer listening to the score over and over again.