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The Film Scorer podcast features interviews with the best film score composers. Guests include Tim Hecker, Patrick Stump, and Oscar winners and nominees - listen now!
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Mar 30, 2018 · He confessed up front that he wouldn’t be able to provide expert demos on the piano like Williams does — so Spielberg sent him off with an early cut of the film, scheduled a full-day...
- The Mummy Returns
- Flight of The Navigator
- Contact
- Who Framed Roger Rabbit
- Forrest Gump
- Captain America: The First Avenger
Jerry Goldsmith so disliked scoring Stephen Sommers’ The Mummy that he refused to do the sequel. Step forward Silvestri who delivered one of his most gargantuan and enjoyable epics. There’s little time for subtlety in this rich blend of Egyptian instrumentation, massive choir and orchestra-shredding battle sequences, but Silvestri has always been o...
This ’80s family classic is scorched into the minds of an entire generation, no doubt due to repeat bank holiday viewings. Silvestri created one of his most memorable electronic compositions for the movie: composed entirely on the Synclavier, it moves from era-appropriate pop instrumental to a yearning sense of longing. That Silvestri is able to ca...
Criticised at the time of release for sounding too similar to Forrest Gump, Silvestri’s Contactscore, much like the movie itself, has increased in stature over the years. As befits the lofty themes of the movie (adapted from Carl Sagan’s book), this is a more melancholy, pensive and expansive score, albeit very much in the Silvestri orchestral moul...
Robert Zemeckis’ technically audacious live-action/cartoon hybrid remains a miracle to this day, mashing up our favourite animated characters with a sly Bob Hoskins murder mystery. It’s a complex movie that demands a multi-faceted score, with Silvestri having to make numerous tonal changes and keep multiple themes in check. From the frenetic toon m...
Silvestri’s first (and, to date, only) Oscar nomination for Best Score came for Robert Zemeckis’ smash-hit comedy-drama, one of the movie sensations of 1994. It’s a sprawling, picaresque tale as seen through the eyes of Tom Hanks’ naive central character, and Silvestri makes the sensible decison to ground the music in his emotional awakening, rathe...
Superhero scores were in a rough way in the early noughties, with the melodic impetus of John Williams’ Superman and Danny Elfman’s Batman seemingly not in vogue. Kudos then to director Joe Johnston who realised his nostalgically tinged origin story required a composer whose sound owed more to Hollywood’s Golden Age. By anchoring his Captain Americ...
Aug 29, 2013 · Sounds like a really fun score, no doubt with some classic Silvestri heart-warming moments. Looks like the film is going to have some lighter enjoyable moments judging by his obvious french and spy pieces. Looking forward to the film and Silvestri is presenting a suite from the Walk to be performed at the World Soundtrack Awards next month, and ...
The original score was composed by Alan Silvestri, rather than Spielberg's usual collaborator John Williams. Ready Player One was the third of Speilberg's films since 1974 not to be scored by Williams, after The Color Purple (1985) and Bridge of Spies (2015).
Mar 31, 2004 · Silvestri has said that none of his Pirates music was even used in Tomb Raider 2. If you want to hear a really big score that probably indicates the quality that Silvestri's Pirates score was probably like, listen to The Mummy Returns. Neil
Aug 1, 2012 · Certainly John Williams, for many reasons. His pure musicianship is so important. His film sensibility…his ability as a storyteller, because a good film composer needs to be a storyteller. His vision is tremendous. His use of themes, his melodic sense.
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Jun 28, 2018 · Silvestri’s soundtrack is playful and slapstick, with improvisation at the heart – and the London Symphony Orchestra, who play all the music on the soundtrack, even improvised all of Jessica Rabbit’s themes.
