composeralex
Member
Hello everyone!
A few months ago, I was talking with a colleague who was asking me what some good film scores are to study. I posted a thread in response on the Christian Filmmakers web site, and I'm posting a similar thread here so that I can share with as many people as possible!
(I also added it to my web site, on the "resources" tab today.)
This post is primarily for composers and filmmakers, but of course film music enthusiasts and hobbyists might enjoy it as well!
The scores listed are sorted by genre, and I’ve given a brief description of why I think these scores are worth study.
This is NOT a "my favorite film scores" thread, but the idea with this thread is to list films that have especially effective scores from which we all can learn, and to list scores that are particularly inventive on a musical level and not your “average movie score.”
And note, there are spoilers! If you haven’t seen these films, I’m sorry if I ruin anything for you ... but it’s your choice to continue reading!
ACTION:
Air Force One (Jerry Goldsmith and Joel McNeely): An exhilarating listen, and incredible with the film! The hijacking sequence is one of the pinnacle achievements in film scoring, in my opinion. It’s incredible how precisely the score matches the action on screen. Excellent orchestration, and these guys wonderfully captured the “American” sound. The main title and end credits make me want to stand up and say the pledge of allegiance every time I hear it!
Eagle Eye (Brian Tyler): I can’t imagine the movie’s pacing and forward motion being anything close to what it was without Tyler’s score. He was dead on the mark every single moment of the film. I haven’t heard the score on its own, but I wouldn’t be surprised if it wasn’t very coherent or enjoyable. In the film, though, it made a world of difference. His action cues lined up very well, and in the more dramatic moments, he nailed it in terms of emotion and implication (for instance, someone says a line, and a moment later, there’s a deep, quiet drum hit as it sinks in). Extremely well-scored.
ADVENTURE:
The Incredibles (Michael Giacchino): If any words can describe this score, it would be, “WOW!” Like the film, this score is an incredible (haha
) amount of fun. The orchestration is brilliant, and the sheer energy of everything is impressive. It has a jazzy, “spy-movie” feel to it (like the James Bond) films, but while not taking itself to seriously, it is pure brilliance from beginning to end.
Indiana Jones and the Raiders of the Lost Ark (John Williams): This score is a classic. Even children today, whose parents were their age when the film came out, know Indy’s iconic theme! In this core, Williams simultaneously captures the sheer fun and adventure of the film, and the power of the Ark of the Covenant through God. There are several themes in this score, most notably Indy’s, the Ark’s, the medallion’s, Marion’s, and the Nazis’. Something interesting about all of the Indiana Jones movies is how sparingly his theme is actually used. It’s only used about half a dozen times in each film, except the fourth (it’s used more, perhaps a little less effectively in places). Take note of how Williams develops the Ark’s theme as the film progresses. The first few notes are introduced when the government agents recruit Indy and he shows them a picture of the Ark. The medallion’s theme is introduced when Marion pulls it out and the audience sees it for the first time. The ark’s theme is again heard in part in the map room, and later when Indy and Sallah carry it through the chamber. A kind of dark march using both the Ark’s theme and the medallion’s theme is heard when the Nazis march with the Ark through the desert with Indy in disguise, and later when the Nazis open it at the climax of the film. But, what’s interesting is that Williams only presents the Ark’s theme in its entirety at the climax of the film! Every other time, it’s just snippets, fragments, and hints, as the audience is getting hints as to the nature and power of the Ark and God ... pure brilliance
The Mummy Returns (Alan Silvestri): This is perhaps the only score I know of that can rival Indiana Jones and the Raiders of the Lost Ark in terms of fun and adventure. In fact, for some reason, whenever I play Rick’s theme for people, they nearly always think it’s from Indiana Jones! The two things have next to nothing in common musically except they’re primarily brassy and they’re a lot of fun. They make you want to go save the world or something.
Silvestri’s score is huge and brilliantly orchestrated. The action music especially is intense and brilliant. Something else impressive about this film is the sheer amount of music! 110 minutes of music in a 130-minute film, minus a lame 5-minute song in the credits. And, not a single cue is bad or boring. The whole score is awesome in the film and on its own! (Van Helsing and Beowulf are what I call “sister scores,” because they’re very similar in style, even having similar action passages, but in my opinion, they don’t top The Mummy Returns.)
Pirates of the Caribbean trilogy (Hans Zimmer & co.): These are enormously controversial scores, and with good reason. Hans Zimmer already had an army of critics against him, and his approach to scoring this trilogy riled them up even more. I mean, each score has at least half a dozen composers (with Zimmer getting credit), another half dozen orchestrators, and at least a couple conductors. Add to that that he scored the films as if each group of characters (pirates, British army, main characters, etc.) were motorcycle gangs (he said this himself), and it’s easy to understand why many might be outraged at these scores. I mean, for films that apparently take place in the 1700s or so, having a hardcore rock-ish score (electric guitars, pounding rock drums, and everything) that tops even Gladiator in terms of testosterone and steroids seems to be an absolutely ridiculous approach. The controversy really is about this style breaking with the precedent adventure scores (such as those by Korngold, Steiner, and later Williams, and even Debney and Silvestri). Listen to John Debney’s score to Cutthroat Island (which is an incredible score) and then Zimmer’s Pirates scores, and it’s obvious why people get riled up over this. But, he produced what are arguably some very enjoyable and highly impressive (and undeniably very well-mixed and mastered) scores that are thrilling to listen to on their own. Audiences also largely seem to accept this odd approach without question.
“COMIC BOOK” films:
Batman (Danny Elfman): The score to this Tim Burton film is arguably one of his
finest. It goes wonderfully with the film, which is dark and yet still wacky. Elfman’s music is as well. You can hear some Bernard Herrmann influences in parts (Elfman loves Herrmann’s music!). Burton and Elfman had a fairly unpredictable approach to several scenes: a wacky waltz for the Joker when he shoots Carl Grisssom, and a reprise of that waltz during the final fight at the top of the cathedral. Interesting juxtaposition! But it works well. Burton and Elfman can do very creative things together ... as a team, they produce great stuff. Especially with weirdo actors like Michael Keaton, Jack Nicholson, and Johnny Depp.
The Dark Knight (Hans Zimmer and James Newton Howard): This score works wonders in the film, even though most of the score isn’t very engaging to listen to on its own. The film is dark and nitty-gritty, and the music is appropriately mostly dark and moody. Of course, there’s pounding action music when appropriate, and Zimmer bumps his already intense action music up to the next level at times. Interestingly enough, the music for the Joker in this film is very unconventional as well! His theme is only a single note, a scratchy, sustained D on a solo cello. It evolves in different scenes and in a different direction each time. But, at apparently odd times, there’s just this airy and scratchy note, and the audience knows that the Joker is lurking around. Zimmer said that he wanted the character to be free of any associations with what we might have with a “bad guy theme.”
Superman (John Williams): Classic and brilliant, and many would call this their all-time favorite score. Along with Indiana Jones and Luke Skywalker, Superman has his own iconic, heroic theme. I don’t read comic books, but if I did, I can’t imagine reading the Superman comic books and hearing anything but this music. It’s perfect for the film. Perfect.
Superman Returns (John Ottman): This is a companion study to Williams’ score to Superman. Listen to how another composer keeps Williams’ themes and draws from his original score, and yet still presents something original and interesting (similar to Don Davis and Jurassic Park 3). Ottman uses a similar but different palette (including the use of a choir), and hints at Williams’ love theme several times in reference to his own, new love theme.
DRAMA:
August Rush (Mark Mancina): There are several themes, and they’re developed over the course of the film in a way that parallels August’s search for his parents. The music is literally a character in this film. One theme, apparently the “main theme,” is introduced airily in the beginning, the social worker whistles it (and it catches August’s attention), August plays a variation of it on guitar, and it’s used a few other times. Another of the themes is a 4-note repeated descent, which seems to represent August’s longing for his parents. There are a couple other themes, as well as the tune Wizard sings the night of August’s conception. And, at the end of the film, during August’s Rhapsody, all of the themes are presented beautifully, and his actual piece goes along with (or perhaps determines?) the action on screen.
Cast Away (Alan Silvestri): I’m not sure what genre of film this actually is, so I just put it under drama. The most intriguing thing about this score is actually when there’s music, and when there isn’t! In this full-length feature film, the score is a grand total of 17 minutes long. There is no music for the entire time Chuck is on the island, and this greatly amplifies the loneliness he feels. There’s only music during the “normal” beginning and end of the film. The score itself is comprised only of a single sad and beautiful theme.
E.T.-Extra Terrestrial (John Williams): This is also a sci-fi film, but I categorized it as drama because of the familial nature of the film. This score is one of the scores from what I consider to be John Williams’ peak years (1977 to mid 1980s). The music at the beginning of the film is almost religious-sounding as E.T. is left behind, and the music goes from eerie to curious to warm as E.T. and Elliot’s friendship grows. I consider the bicycle chase towards the end of the film to be another of the pinnacle sequences in film, and Williams’ music is phenomenal.
FANTASY:
Edward Scissorhands (Danny Elfman): This is another of Elfman’s finest scores. Elfman delivered a very fairy-tailish kind of score to this peculiar film. This is another score that’s wonderful to listen to on its own, but it enhances the film enormously. The music to the scene when Kim dances in the ice shavings/snow is amazing! Another interesting decision that Elfman made was to score the hair cutting montage with gypsy music. It has nothing to do with anything, but he suggested it to Burton, and they went with it. It works very well, and the audience accepts it, but if you try to analyze it, it really makes no sense.
Hook (John Williams): This is a wonderfully magical score, and one of John Williams’ finest ever in my opinion. There are many, many memorable themes in this score (perhaps more than any other single film, including Star Wars). This score has some huge swells for a full orchestra and chorus, and has some equally powerful quiet moments with solo piano or violin. This score is fun and magical both in the film and on its own. Absolutely amazing music.
Lord of the Rings trilogy (Howard Shore): I could write pages and pages and not do these scores justice. Just like when you watch the film, you can see how much labor and love must have been put into making EVERYTHING, so one can hear when listening to the music how much Shore slaved over every single note, phrase, and orchestration. Every last minor detail seems to have been thought out, planned for, and executed masterfully. The thoroughness of the scoring and orchestration is astounding. These movies are long, but there’s an enormous amount of music in these films, even adjusting the length proportionately. Pay special attention to how Shore uses dynamics in these scores. His themes and harmony often seem simple (and often are), but listen to how he presents them ... so many dynamic curves, swells, waves, builds, breaths, and flexes. My only complaint is that the percussion is often mixed way down, especially in Return of the King ...
A few months ago, I was talking with a colleague who was asking me what some good film scores are to study. I posted a thread in response on the Christian Filmmakers web site, and I'm posting a similar thread here so that I can share with as many people as possible!
(I also added it to my web site, on the "resources" tab today.)This post is primarily for composers and filmmakers, but of course film music enthusiasts and hobbyists might enjoy it as well!
The scores listed are sorted by genre, and I’ve given a brief description of why I think these scores are worth study.
This is NOT a "my favorite film scores" thread, but the idea with this thread is to list films that have especially effective scores from which we all can learn, and to list scores that are particularly inventive on a musical level and not your “average movie score.”
And note, there are spoilers! If you haven’t seen these films, I’m sorry if I ruin anything for you ... but it’s your choice to continue reading!
ACTION:
Air Force One (Jerry Goldsmith and Joel McNeely): An exhilarating listen, and incredible with the film! The hijacking sequence is one of the pinnacle achievements in film scoring, in my opinion. It’s incredible how precisely the score matches the action on screen. Excellent orchestration, and these guys wonderfully captured the “American” sound. The main title and end credits make me want to stand up and say the pledge of allegiance every time I hear it!
Eagle Eye (Brian Tyler): I can’t imagine the movie’s pacing and forward motion being anything close to what it was without Tyler’s score. He was dead on the mark every single moment of the film. I haven’t heard the score on its own, but I wouldn’t be surprised if it wasn’t very coherent or enjoyable. In the film, though, it made a world of difference. His action cues lined up very well, and in the more dramatic moments, he nailed it in terms of emotion and implication (for instance, someone says a line, and a moment later, there’s a deep, quiet drum hit as it sinks in). Extremely well-scored.
ADVENTURE:
The Incredibles (Michael Giacchino): If any words can describe this score, it would be, “WOW!” Like the film, this score is an incredible (haha
Indiana Jones and the Raiders of the Lost Ark (John Williams): This score is a classic. Even children today, whose parents were their age when the film came out, know Indy’s iconic theme! In this core, Williams simultaneously captures the sheer fun and adventure of the film, and the power of the Ark of the Covenant through God. There are several themes in this score, most notably Indy’s, the Ark’s, the medallion’s, Marion’s, and the Nazis’. Something interesting about all of the Indiana Jones movies is how sparingly his theme is actually used. It’s only used about half a dozen times in each film, except the fourth (it’s used more, perhaps a little less effectively in places). Take note of how Williams develops the Ark’s theme as the film progresses. The first few notes are introduced when the government agents recruit Indy and he shows them a picture of the Ark. The medallion’s theme is introduced when Marion pulls it out and the audience sees it for the first time. The ark’s theme is again heard in part in the map room, and later when Indy and Sallah carry it through the chamber. A kind of dark march using both the Ark’s theme and the medallion’s theme is heard when the Nazis march with the Ark through the desert with Indy in disguise, and later when the Nazis open it at the climax of the film. But, what’s interesting is that Williams only presents the Ark’s theme in its entirety at the climax of the film! Every other time, it’s just snippets, fragments, and hints, as the audience is getting hints as to the nature and power of the Ark and God ... pure brilliance
The Mummy Returns (Alan Silvestri): This is perhaps the only score I know of that can rival Indiana Jones and the Raiders of the Lost Ark in terms of fun and adventure. In fact, for some reason, whenever I play Rick’s theme for people, they nearly always think it’s from Indiana Jones! The two things have next to nothing in common musically except they’re primarily brassy and they’re a lot of fun. They make you want to go save the world or something.
Pirates of the Caribbean trilogy (Hans Zimmer & co.): These are enormously controversial scores, and with good reason. Hans Zimmer already had an army of critics against him, and his approach to scoring this trilogy riled them up even more. I mean, each score has at least half a dozen composers (with Zimmer getting credit), another half dozen orchestrators, and at least a couple conductors. Add to that that he scored the films as if each group of characters (pirates, British army, main characters, etc.) were motorcycle gangs (he said this himself), and it’s easy to understand why many might be outraged at these scores. I mean, for films that apparently take place in the 1700s or so, having a hardcore rock-ish score (electric guitars, pounding rock drums, and everything) that tops even Gladiator in terms of testosterone and steroids seems to be an absolutely ridiculous approach. The controversy really is about this style breaking with the precedent adventure scores (such as those by Korngold, Steiner, and later Williams, and even Debney and Silvestri). Listen to John Debney’s score to Cutthroat Island (which is an incredible score) and then Zimmer’s Pirates scores, and it’s obvious why people get riled up over this. But, he produced what are arguably some very enjoyable and highly impressive (and undeniably very well-mixed and mastered) scores that are thrilling to listen to on their own. Audiences also largely seem to accept this odd approach without question.
“COMIC BOOK” films:
Batman (Danny Elfman): The score to this Tim Burton film is arguably one of his
finest. It goes wonderfully with the film, which is dark and yet still wacky. Elfman’s music is as well. You can hear some Bernard Herrmann influences in parts (Elfman loves Herrmann’s music!). Burton and Elfman had a fairly unpredictable approach to several scenes: a wacky waltz for the Joker when he shoots Carl Grisssom, and a reprise of that waltz during the final fight at the top of the cathedral. Interesting juxtaposition! But it works well. Burton and Elfman can do very creative things together ... as a team, they produce great stuff. Especially with weirdo actors like Michael Keaton, Jack Nicholson, and Johnny Depp.
The Dark Knight (Hans Zimmer and James Newton Howard): This score works wonders in the film, even though most of the score isn’t very engaging to listen to on its own. The film is dark and nitty-gritty, and the music is appropriately mostly dark and moody. Of course, there’s pounding action music when appropriate, and Zimmer bumps his already intense action music up to the next level at times. Interestingly enough, the music for the Joker in this film is very unconventional as well! His theme is only a single note, a scratchy, sustained D on a solo cello. It evolves in different scenes and in a different direction each time. But, at apparently odd times, there’s just this airy and scratchy note, and the audience knows that the Joker is lurking around. Zimmer said that he wanted the character to be free of any associations with what we might have with a “bad guy theme.”
Superman (John Williams): Classic and brilliant, and many would call this their all-time favorite score. Along with Indiana Jones and Luke Skywalker, Superman has his own iconic, heroic theme. I don’t read comic books, but if I did, I can’t imagine reading the Superman comic books and hearing anything but this music. It’s perfect for the film. Perfect.
Superman Returns (John Ottman): This is a companion study to Williams’ score to Superman. Listen to how another composer keeps Williams’ themes and draws from his original score, and yet still presents something original and interesting (similar to Don Davis and Jurassic Park 3). Ottman uses a similar but different palette (including the use of a choir), and hints at Williams’ love theme several times in reference to his own, new love theme.
DRAMA:
August Rush (Mark Mancina): There are several themes, and they’re developed over the course of the film in a way that parallels August’s search for his parents. The music is literally a character in this film. One theme, apparently the “main theme,” is introduced airily in the beginning, the social worker whistles it (and it catches August’s attention), August plays a variation of it on guitar, and it’s used a few other times. Another of the themes is a 4-note repeated descent, which seems to represent August’s longing for his parents. There are a couple other themes, as well as the tune Wizard sings the night of August’s conception. And, at the end of the film, during August’s Rhapsody, all of the themes are presented beautifully, and his actual piece goes along with (or perhaps determines?) the action on screen.
Cast Away (Alan Silvestri): I’m not sure what genre of film this actually is, so I just put it under drama. The most intriguing thing about this score is actually when there’s music, and when there isn’t! In this full-length feature film, the score is a grand total of 17 minutes long. There is no music for the entire time Chuck is on the island, and this greatly amplifies the loneliness he feels. There’s only music during the “normal” beginning and end of the film. The score itself is comprised only of a single sad and beautiful theme.
E.T.-Extra Terrestrial (John Williams): This is also a sci-fi film, but I categorized it as drama because of the familial nature of the film. This score is one of the scores from what I consider to be John Williams’ peak years (1977 to mid 1980s). The music at the beginning of the film is almost religious-sounding as E.T. is left behind, and the music goes from eerie to curious to warm as E.T. and Elliot’s friendship grows. I consider the bicycle chase towards the end of the film to be another of the pinnacle sequences in film, and Williams’ music is phenomenal.
FANTASY:
Edward Scissorhands (Danny Elfman): This is another of Elfman’s finest scores. Elfman delivered a very fairy-tailish kind of score to this peculiar film. This is another score that’s wonderful to listen to on its own, but it enhances the film enormously. The music to the scene when Kim dances in the ice shavings/snow is amazing! Another interesting decision that Elfman made was to score the hair cutting montage with gypsy music. It has nothing to do with anything, but he suggested it to Burton, and they went with it. It works very well, and the audience accepts it, but if you try to analyze it, it really makes no sense.
Hook (John Williams): This is a wonderfully magical score, and one of John Williams’ finest ever in my opinion. There are many, many memorable themes in this score (perhaps more than any other single film, including Star Wars). This score has some huge swells for a full orchestra and chorus, and has some equally powerful quiet moments with solo piano or violin. This score is fun and magical both in the film and on its own. Absolutely amazing music.
Lord of the Rings trilogy (Howard Shore): I could write pages and pages and not do these scores justice. Just like when you watch the film, you can see how much labor and love must have been put into making EVERYTHING, so one can hear when listening to the music how much Shore slaved over every single note, phrase, and orchestration. Every last minor detail seems to have been thought out, planned for, and executed masterfully. The thoroughness of the scoring and orchestration is astounding. These movies are long, but there’s an enormous amount of music in these films, even adjusting the length proportionately. Pay special attention to how Shore uses dynamics in these scores. His themes and harmony often seem simple (and often are), but listen to how he presents them ... so many dynamic curves, swells, waves, builds, breaths, and flexes. My only complaint is that the percussion is often mixed way down, especially in Return of the King ...
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