![]() So instead of writing the music to fit, he composed various mood pieces that could fit into suitable scenes. Allegedly, director Christopher Nolan asked him to do this to “unleash his imagination”. What was unusual about Hans Zimmer’s music for Inception was that he wrote it while the film was being made and not, as is almost always the case with movie scoring, after he’d seen the final cut. Battle Beyond The Stars didn’t make the cut, but we’ve posted it below so you can compare and contrast (as you might be able to guess, we didn’t need to post Star Trek II here as well, because it may well be coming up later). In fact, when heard in isolation, it's not always easy to immediately work out which is which. All three of his most famous early ’80s film themes – for British fantasy flick Krull, Battle Beyond The Stars and Star Trek II – sound like they could quite happily accompany The Scarlet Buccaneer or Mutiny On The Bounty. Jezzer’s doing well in the nether reaches of this chart, isn’t he? Five places in, and he’s claimed four of the slots! His theme for director Stephen Sommer’s CG heavy Mummy movie went for the obvious – an Egyptian motif – but then becomes a mighty orchestral piece that seems somehow like it deserves a better film.īefore he became composer on the two top-grossing movies of all time ( Titanic and Avatar) back in the ’80s James Horner had what might be called a signature style – horn-heavy themes with a swashbuckling swagger and a seafaring lilt. It perfectly suits the mixture of black comedy and horror in Joe Dante’s brace of madcap movies. What a shame most people forget Goldsmith's wonderfully quirky theme tune, a nightmare fairground hurdy gurdy stomp trapped in a melodic hurricane or madness. Mention the music from Gremlins and most people will immediately think of the sweet, ululating little song that Gizmo purrs when he’s content. It almost feels like there should be fireworks going off to accompany it… or maybe some “1812 Overture”-style cannons. The soundtrack is certainly an accomplished, bold, exultantly grandiose affair and the main theme is as patriotic as apple pie – the musical equivalent of President Bill Pullman’s mighty speech. Still early in his film composing career, a pre-Bond David Arnold impressed film music buffs so much with his ID4 score that there were mumblings of how he could be the true inheritor of John Williams’s crown. Not sure how many of your five-a-day that accounts for. It’s called “Ave Santani” and what the choir is belting out in Latin (“Sanguis bibimus, corpus edimus, tolle corpus Satani”) translates as “We drink the blood, we eat the flesh, raise the body of Satan”. ![]() ![]() But while that classical piece may well have been a influence, no, Jerry Goldsmith wrote this piece himself, and it helped hi win an Oscar (amazingly, the only one of his career). Many people mistakenly believe that the demonic choral music from The Omen is Orff's “O Fortuna”, aka the music from the Old Spice ad, also known for its prominent use in Excalibur. ![]()
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