Sunday, July 16, 2017

Scoring the Series: Spider-Man

Back with Scoring the Series, as we look back at the various Spider-Man films.  With the release of the newest film, Spider-Man: Homecoming, we add Michael Giacchino to the list of top composers for our favorite web-slinger.  Here are the credits to each film with some scoring photos tossed in.   

Spider-Man (2002)
Music composed by Danny Elfman
Conducted by Pete Anthony
Orchestrated by Steve Bartek, Mark McKenzie, Edgardo Simone, David Slonaker, Marc Mann
Recorded and mixed by Dennis Sands
Recorded at Sony Pictures Scoring Stage




Spider-Man 2 (2004)
Music composed by Danny Elfman
Conducted by Pete Anthony
Orchestrated by Steve Bartek, Mark McKenzie, Edgardo Simone, David Slonaker
Additional music by John Debney, Christopher Young
Recorded and mixed by Dennis Sands
Recorded by the Hollywood Studio Symphony
Recorded at Sony Pictures Scoring Stage





Spider-Man 3 (2007)
Music composed by Christopher Young
Conducted by Pete Anthony
Orchestrated by Pete Anthony, Bruce Babcock, John Kull
Original themes/cues by Danny Elfman

The Amazing Spider-Man (2012)
Music composed by James Horner
Conducted by James Horner
Orchestrated by James Horner, J.A.C. Redford, Jon Kull, Steve Bernstein, Peter Boyer, Carl Johnson, Randy Kerber
Music arranged by Simon Rhodes, Simon Franglen, Ian Underwood
Recorded and mixed by Simon Rhodes
Recorded at Sony Pictures Scoring Stage




The Amazing Spider-Man 2 (2014)
Music composed by Hans Zimmer and the Magnificent Six
(Michael Einzinger, Junkie XL, Andrew Kawczynski, Johnny Marr, Steve Mazzaro, Pharrell Williams)
Conducted by Nick-Glennie Smith
Orchestrated by Bruce Fowler, Walt Fowler, Suzette Moriarty, Rhea Fowler, Kevin Kaska
Additional music by Andy Page, Adam Peters, Czarina Russell, Mario Reinsch
Recorded by Alan Meyerson
Recorded at Sony Pictures Scoring Stage





Spider-Man: Homecoming (2017)
Music composed by Michael Giacchino
Conducted by Marshall Bowen III
Orchestrated by Jeff Kryka, William Ross, Marshall Bowen III, Cameron Patrick, Curtis Green, Michael Giacchino
Recorded and mixed by Joel Iwataki
Recorded at 20th Century Fox's Newman Scoring Stage 

Saturday, June 17, 2017

Top 10 Scores Turning 10 in 2017

Back to our musical score time machine!  This time, we're only looking back 10 years...to 2007! Here's a look back at the scores of 2007 with my list of the 10 Best Scores Turning 10!

Let's start the ranking!



10. Spider-Man 3 (Christopher Young)
After scoring a few cues for the previous film, Young took over the whole score from Danny Elfman.  This score stands out by expanding on Elfman's material and style while adding Young's Black Suit Spider-man, Sandman and Venom material (among others).  Like Spider-Man 2, additional composers were brought in rescore sections.  Sadly, no score release has ever been released.







9. The Water Horse: Legend of the Deep (James Newton Howard)
A mix of childlike fantasy, Celtic influences, orchestral action makes this likely a favorite from JNH fans.  The sweeping orchestral writing near the finale is especially moving and brings me back to this score for several repeated listens.       








8. Partition (Brian Tyler) 
Typical Brian Tyler fans probably wouldn't find or seek this score, and likely you haven't seen this drama about the creation of Pakistan.  The main theme and vocal solos are a sure standout, with tasteful ethnic instrumentation incorporated throughout.








7. Stardust (Ilan Eshkeri) 
If you haven't seen or heard this one, put it on your list.  This score fits snuggly in the action fantasy category with twinkling instrumentation, broad orchestrations, choir and charming melodies.  There are heavy Lord of the Rings/Narnia influences, but still Eshkeri's strongest efforts.  








6. I Am Legend (James Newton Howard
While a good chunk of the film deals with the main character's isolation with silence, the score's album contains more music.  The orchestral/choral theme for our main character is a standout among action cues and sweeping moments later in the film.  








5. Atonement (Dario Marianelli) 
For this period piece, Marianelli composed what could be mistaken as concert music.  Cello and piano solos stay in the forefront in this largely romantic-yet-subdued score.  The two main melodies appear regularly, as does bits of typewriter.  









4. 3:10 to Yuma (Marco Beltrami) 
Gritty western is the usual way of describing the film and score.  Notable are the darker motifs with innovative instrumentation mixed with sound design.  Beltrami matches the tension of the film, before finally unleashing more outstanding action. 








3. The Golden Compass (Alexandre Desplat) 
From the beginning of this fantasy epic (a trend of mine emerges), Desplat brings you into this new world.  Everything is crafted neatly and themes are woven into interesting textures (utilizing some instruments and orchestral sounds you don't always hear).  This is also one of Desplat's first "big" films, giving him the chance to write action cues still crafted with the same care as his French films.






2. Pirates of the Caribbean: At Worlds End (Hans Zimmer) 
With easily the best of the Pirates scores, Zimmer & co. bring the orchestra whipping up some great rollicking moments.  With new themes expanding the past films, new material includes a love theme, pirate anthem, more quirky Jack Sparrow material, Asian influences, and even Morricone takeoffs.  Even while riffing on things done before, the score seems fresher and even sounds better.  



1. Ratatouille (Michael Giacchino)
For this still delightful Pixar film, Giacchino delivers a perfect blend of French textures, jazz, a pinch of romance, a strong main theme and subsequent song.  The energetic action cues sit nicely next to the sentimental moments.  With the balance of sweetness and upbeat excitement, it's easy to see how Giacchino became a Pixar favorite and how this score earns top place of the year.     




Honorable Mentions:
August Rush (Mark Mancina), The Bourne Ultimatum (John Powell), Eastern Promises (Howard Shore), Fantastic Four: Rise of the Silver Surfer (John Ottman), Meet the Robinsons (Danny Elfman), There Will Be Blood (Jonny Greenwood), Zodiac (David Shire)

Any favorites of yours from 2007 that I didn't include?  Comment below!

Saturday, May 6, 2017

Spotlight On...The Fast and the Furious

The newest Spotlight On takes a look back at the The Fast and the Furious franchise.
These street racing/heist/revenge action films are more popular than ever and have featured what feels like the most frequent action cues.  So rev up your engines and let's take a look back on the films score by score.

The Fast and the Furious (2001)
Music by BT
Composer and musician Brian Transeau was well established in the electronica world, but film scoring was still relatively new.  His score features some non-traditional writing techniques and included complex rhythm patterns on car chassis parts.  Clearly the techno style has followed through most of the later films.  Since the original focus was the song soundtrack, only a few tracks appear on the More Fast and Furious album.  (Just listen to: Race Wars, Nocturnal Transmission, The Fast and the Furious Theme) 

2 Fast 2 Furious (2003)
Music by David Arnold
Director John Singleton brought David Arnold to this less than desirable sequel, with a few action James Bond films under his belt.  Arnold matched the glowing street racing musically with a hard rock influence of drum loops and electronic elements.  Unfortunately no score tracks were released on any official albums.

The Fast and the Furious: Tokyo Drift (2006)
Music by Brian Tyler
Tyler continued the mix of electronics and orchestra, letting guitars and brass stay in the forefront of the constant action cues.  Tyler does include a bit more thematic material that threads through the score.  His action writing led to Tyler basically taking over the franchise's overall sound.  (Just listen to: Neela Drifts, Downtown Tokyo Chase, Symphonic Touge)

Fast & Furious (2009)
Music by Brian Tyler
More symphonic than the last, the score never loses its roots in the guitars and electronic rhythms and hints of techno.  Welcome slower moments include Letty's acoustic guitar theme and love theme.  (Just listen to: Letty, The Showdown, Suite)

Fast Five (2011)
Music by Brian Tyler
The orchestral side of the score is more dominant.  The drumset, guitars and electronic loops give the score a bit more edge.  The new main theme will become a film mainstay while new characters (like Dwayne Johnson's Hobbs) lead to some new thematic motifs.  Overall, Tyler continues his typical action chops, with some memorable cues that don't feel like retreaded material.  (Just listen to: The Perfect Crew, Dom Vs Hobbs, Train Heisht, The Vault Heist)

Fast & Furious 6 (2013)
Music by Lucas Vidal
With Tyler stepping aside for other projects, young composer Vidal stepped with an equally action-packed score that blends nicely with the past scores.  In fact, themes and full cues from Tyler's scores of films 4 and 5 appear.  In addition, no official score album was released. 

Furious 7 (2015)
Music by Brian Tyler
For film 7, Tyler returned with possibly the freshest of the scores while still developing past material.  The main theme returns as does the theme for Hobbs, and a menacing theme for villain Shaw.  Choir makes an appearance in this score, seemingly upping the score just like the films themselves.  The emotional side of the series has popped up occasionally, but with Paul Walker's touching tribute, Tyler's emotional aspect exactly hits the mark.  (Just listen to: Furious 7, Battle of the Titans, One Last Stand, Farewell)

The Fate of the Furious (2017)
Music by Brian Tyler
Containing some of the betrayal and vengeance parts of the film, Tyler connected several past themes for Letty and Dom in slighty darker moments.  All of the Tyler essentials appear at full blast.  This score doesn't add much to the musical world we've heard already as the long album moves along.  (Just listen to: Zombie Time, Davidaniya, The Return)  

Check out the others in the SPOTLIGHT ON.... SERIES!

Wednesday, April 26, 2017

Top 10 Scores Turning 20 in 2017

And now for another ride on the musical time machine!  Looking back, it is so hard to believe that these scores from 1997 are 20 years old!  So let's take a look back at 1997 with my list of the 10 Best Scores Turning 20!

Let's start the ranking!



10. Air Force One (Jerry Goldsmith)
Written as a replacement for Randy Newman's score (in two weeks!) this bombastic score isn't the best Goldsmith can offer, but it's full of Americana, a shamelessly patriotic sounding main theme and extended action material.








9. Contact (Alan Silvestri)
Silvestri's score is hopeful, and sentimental. Parts of the score sound close to the introspective style of Forrest Gump, with the occasional action cue. Music really goes for the emotion than the science elements in most scenes and especially the climax. Silvestri would touch some of the same aspects to on the series Cosmos.






8. Men in Black (Danny Elfman)
Fitting in the niche of quirky comedy and sci-fi lands Elfman's score. Most of the score has a spy groove that becomes the identity of the MIB and its sequels. It has plenty of past and future Elfman elements with a lovely emotional guitar theme that often gets forgotten.







7. Seven Years in Tibet (John Williams)
The dramatic and personal tale is told with an almost reflective mood. There are moments of sweeping orchestral writing, and plenty more subtle and introspective moments with hints of the Tibetan locale. The score shines with haunting cello solos melodies performed by Yo-Yo Ma.







6. Anastasia (David Newman)
I do love song scores - especially in an animated film. In this case, Newman rarely interpolates the song melodies into the score and lets it become something on its own. The one exception would be the music box theme which ties both songs and score together. The Russian musical influences work well. I'd love to hear an expanded score album, with the original album featuring far more songs.





5. Tomorrow Never Dies (David Arnold)
The Bond franchise got a big jumpstart musically with Arnold's first score. For those worried about the future of these scores, Arnold was able to keep the mold of the Barry-era scores, while adding in new motifs and themes while piling on more blaring brass, jazz and techno.







4. Starship Troopers (Basil Poledouris)
Straddling the aggressive action and the military satire, Poledouris gave the large orchestra a strong workout of bombastic themes, brilliant action cues, creative orchestral techniques and the humorous propaganda bits.








3. L.A. Confidential (Jerry Goldsmith)
Source songs are featured heavily in the film with Goldsmith's score there to bind the rest of the film together. This dark noir features some fantastic instrumental writing and suspense cues. The trumpet variations of the main title are a particular standout.







2. The Lost World: Jurassic Park (John Williams)
Returning to the dinosaur blockbuster gave Williams a chance to take the score in a different direction. Matching the darker tone, the score went much darker with hardly any references to the majestic themes of the original. Instead a new theme conveyed a lot of the island travel and how scary the dinos can be with brutual action rhythms overlayed with lots of jungle-themed percussion. The score fares better in the film or in the expanded soundtrack.



1. Titanic (1997)
1997 was dominated by Titanic. Easily one of the most influential aspects is the score. Horner's grand and romantic score is dominated by Celtic influences, stunning vocal solos, lush orchestral and synth techniques. Even with all its flaws, this score's staying power 20 years later is astonishing. The radio play of the song, award winds and album sales is still rare for a film score.



Honorable Mentions:
Amistad (John Williams), Batman & Robin (Elliot Goldenthal), Con Air (Mark Mancina/Trevor Rabin), Face Off (John Powell), Good Will Hunting (Danny Elfman) My Best Friends Wedding (James Newton Howard).

Any favorites of yours from 1997 that I didn't include?  Comment below!

Sunday, April 16, 2017

Quick Review: Beauty and the Beast

Beauty and the Beast
Music composed by Alan Menken
Songs by Alan Menken, Howard Ashman, Tim Rice
Music conducted by Michael Kosarin
Music orchestrated by James Shearman, Kevin Kliesch, Michael Barry
Songs orchestrated by Doug Besterman, Michael Starobin, Danny Troob, Jonathan Tunick
Additional music and arrangements by Christopher Benstead, Michael Kosarin
Music recorded at Abbey Road Studios, AIR Lyndhurst Studios
Album running time: Regular (53 minutes), Deluxe (131 minutes)
Available on Walt Disney Records

The next film to receive the Disney live-action remake is Beauty and the Beast.  In the past films, they've mainly shied away from the full musicals or incorporating much of the musical past into the new film.  (The recent The Jungle Book is the exception with songs, and with mixed results).  This new film, however, takes the original musical film and adds more songs.  None of the songs written for the Broadway version have ported over (with one exception that I'll mention later).

For this film, we get 2 albums, with the deluxe edition adding in a full disc of newly written/arranged/orchestrated score by Alan Menken and the new songs presented in demo format.  Unfortunately, as Disney's habit of separating songs from score, you'll have to make your own film order arrangement by combining discs.  It is worth noting that the complete 1991 score has never been released, with only a few original tracks released. 

As far as material: “Prologue”, “Belle”, “Gaston”, “Be Our Guest”, “Something There”, “Beauty and the Beast”, “The Mob Song” all appear in full, with melodies used in the score again.  New material also appears in song and score: “Aria”, “How Does a Moment Last Forever”, “Days in the Sun”, and “Evermore”.  For new songs, Menken again collaborated with lyricist Tim Rice, who also was lyricist for the Broadway adaptation. 

I don’t feel particularly needed to review the songs –not much has changed from the originals.  There are obvious lyrical changes (some original cut lyrics from “Gaston” make an appearance) and the arrangements and larger orchestration are noticeable.  The newer songs have a bit of longing to them, and dig deeper into the minds and thoughts of our main characters.  The vocals are another matter, which are divisive amongst listeners.  Disc One ends with the end credit version of the new songs, and includes a handful of piano demos sung by Alan Menken. 

My focus is the new score featured on Disc Two of the Deluxe Edition.  Used heavily are the various thematic material – a Menken staple.  Melodies of “Beauty and the Beast”, “Belle”, “Be Our Guest” and the Prologue’s magic theme appear regularly while “Evermore”, “How Does a Moment Last Forever” and “Days in the Sun” make some important appearances.  Themes are woven into practically every track with some featuring alternate orchestrations/arrangements.

The score album opens with the full Main Title: Prologue sequence sans narrator.  Belle Meets Gaston is some light underscoring featuring both moments from Belle and Gaston's pompous motif.  Your Mother is a semi-continuation of “How Does a Moment Last Forever”, revealing a tender cello solo.  The Laverie incorporates bits of the “Belle” melody while giving a bit of French accordion feel.  The action cue Wolf Chase has a sense of menace using snarling brass and a hint at the melody from "Belle".  The magic theme melody is given a full reprise with chorus as the Beast's castle is revealed.  

Entering the Castle is a bit mysterious and hesitant and ends with a musical cameo of harpsichord-led “Be Our Guest”.  The White Rose continues the same style, before becoming larger with magic theme statements in the strings as the brass shine.  The Beast contains some of brooding, darker moments of the score.  The magic theme is often quoted, with a reprise of “How Does a Moment Last Forever” in a touching cello solo, using the theme as a connection between Belle and her father.

Meet the Staff begins the more lighthearted sections with the transformed objects, with accordions introducing Lumiere as the “Be Our Guest” theme is used.  If the bulk of Home sounds familiar, the twinkling melody is from the Broadway song of the same name.  The earlier song “Aria” makes a reprise as it introduces Madame de Garderobe with a playful waltz.

There's A Beast and A Petal Drops alternate between the sweet and brooding sounds, with a few magic theme quotes, giving the Beast a more sorrowful backstory.  A Bracing Cup of Tea contains some lovely featured solos melodies of “Days in the Sun” and “How Does a Moment Last Forever”.  The West Wing gives hints to “Be Our Guest” again, this time in an interesting arrangement, and later features a dramatic quote of “Days in the Sun” before building upon the magic theme.  Wolves Attack Belle is larger than the earlier wolf sequence, with jabbing strings, strong choir and pounding percussion.  Slower and minor-key arrangements of “Belle”, magical rose theme and “Something There” make appearances.

The Library features a warm string sound and woodwind solos, all while giving the first hint of the melody from “Beauty and the Beast”.  Colonnade Chat features lovely statements of “Evermore” and “Beauty and the Beast” with a sweeping orchestral crescendo at the end.  The Plague is a short cue, featuring another snippet of “Evermore”.  Maurice Accuses Gaston is a bit darker keeping the strings on their opposite ranges for an eerie effect.  

Beast Takes a Bath begins with lighthearted accordion reprise of “Evermore”, “Beauty and the Beast” and another frilly waltz reprise of “Aria” for comic effect.  The Dress builds upon the 'little town' melody from “Belle” before the celeste and orchestra lead into a reprise of “Home” and serves as a delightfully syrupy introduction to their first dance.  You Must Go to Him reprises “Beauty and the Beast” on harp and “Evermore” returns as his chance for love might be gone.

Belle Stops the Wagon balances between drama and action, giving a few action arrangements of past themes among fast string runs and brass and suspenseful writing.  Castle Under Attack begins with an air of spookiness as the magic theme is reprised before the orchestra (and castle objects) attack into a frenzy.  There are humorous nods to several past themes (including a funny moment for Maestro Cadenza the harpsichord) and the themes shine as their characters interact on screen culminating in a frenzied finale of “Be Our Guest”.  Turret Pursuit continues the large orchestral sound, again with the magic theme, “Evermore” and “Beauty and the Beast” making appearances amongst the action as the action rotates around the Beast and Gaston.

You Came Back continues the action material from the last cue, before quotes of the twinkling magic theme, “Beauty and the Beast”, "Home" and moving reprises of “Evermore” take over.  It's beautifully moving as themes are brought back as we transition to Transformations.  It's almost note-for-note from the original film in some sections, with the magic theme finally taking its large moment as the Beast transforms.  The exciting finale naturally reprises all the main themes as the film focuses on all the characters individually – “Beauty and the Beast”, “Be Our Guest”, and “Days in the Sun”.  A horn reprises “How Does a Moment” before fading away, an odd ending of the album without the songs and end credits in the proper order.

This new version of Beauty and the Beast feels a bit bloated (it is around 45 minutes longer) than the original film.  Expanding upon the original work a few times since 1991, Menken’s evolution of the themes is the strongest aspect of this new score.  This does show Alan Menken’s progression as a score composer – even in 1991 he was still new to film.  We hear new arrangements and variations on the classic themes which blend easier with the score and new material.  I know director Bill Condon was going for a different atmosphere with the film, and giving Menken a temp-track to catch the right mood.  The larger expanded orchestra works nicely in some moments while the lighter and more nimble orchestration from the animation is clearly missing from this new film.  While several aspects of the new score works, there’s no matching the original’s magical touch.