Six Cues from the Whedonverse

Six Cues from the Whedonverse

by Kristen Romanelli

Historically, music is an active participant in the "Whedonesque" school of storytelling. As composer Christophe Beck has said, Joss Whedon is "very conscious of music and how it is used, and he's always trying to find new and different ways to implement it." Bear McCreary is the next composer to work with Whedon on the small screen. His penchant for melodies and strong thematic work makes him seem like a clear choice for a program that crosses Marvelverse with Whedonverse. With the imminent premiere of Marvel's Agents of S.H.I.E.L.D., let's look at some noteworthy cues from Whedon's past.

"Close Your Eyes" — Christophe Beck, Buffy the Vampire Slayer

While there are several innovative musical moments in this program, this particular selection is special because of how it developed over the course of three years. This falling sixth leitmotif debuted in the second season of Joss Whedon's cult classic television program, Buffy the Vampire Slayer. It is commonly known as the "Buffy-Angel love theme" and it's introduced in the episode "Surprise" when Angel silences a panicked Buffy with a kiss. As musicologist Janet K. Halfyard has observed, this tender, gentle theme enjoys this one scene as a true love theme before everything takes a turn for the worst.  "Close Your Eyes," its variations, and its harmonic partners http://youtu.be/7NjXEDyzFsk appear in Seasons 2 through 4 of Buffy, and finally in Angel Season 1 episode "I Will Remember You," which features a major key variation of the theme.

"Hero" — Robert J. Kral, Angel (Hero)

In the beginning of Angel the series, the eponymous hero was guided into his investigations by a peculiar, half-demon man named Doyle who received psychic visions from "The Powers That Be." Although Doyle never made it out of the first season, his send-off was nothing short of spectacular. Robert J. Kral's soaring orchestral music, featuring the voice of Elin Carlson, underscores Doyle's sacrifice, which prevents a device from destroying anyone with human DNA. This trope of standing as a champion in the face of sure defeat continues through the series, and the music similarly plays with both the melancholy and heroic.

"River Tricks Early" — Greg Edmonson, Firefly (Objects in Space)

Poor River Tam. Taken from her family, getting her brain sliced and diced by the Alliance—now, she finds that even on a ship full of outsiders, she remains the fringe element. When Jubal Early, a ruthless hunter looking to collect River, boards and seizes Serenity, it is up to the mysterious waif to outwit him and save the crew. Before this cue begins, River's established, minor-key piano motif plays as she sadly tells Early that she's unwanted and has become a part of the ship. A deep, eerie woodwind and guitar play beneath Early as he stalks his prey; soon, River and Early's instruments intertwine, and a distant, childlike singing echoes, juxtaposing the psychotic profile River paints of the bounty hunter's early life; and, as Early realizes that she isn't on Serenity but has seized his ship, familiar fiddle slurs and chords mark her triumph—she is a scoundrel worthy of Serenity.

"Serenity" — David Newman, Serenity

I've been unfair to Serenity in the past. While Edmonson's Firefly score is very focused on the Western aspects of the series, it's easy to get lost in the other elements contributed by David Newman. For cues like "River Goes Wild" [http://www.youtube.com/watch?v=jRYVmD44PwM], Newman's score evokes both River's damaged, triggered state of mind and the chaotic setting of the Alliance frontier. Simply enough, however, the heart of his score is found right in his Serenity theme, as the ship is introduced, flying over a dusty planet where she descends for a job. It begins with what could be described as an almost-romantic seafaring melody and flows into a bright, Western-influenced jig, which then crescendoes into a fanfare of brass... right before the ship begins to fall apart.

"Taking Down Rossum" — Rob Simonsen, Mychael Danna, Dollhouse (The Hollow Men)

The short-lived series Dollhouse doesn't have a released soundtrack, but Rob Simonsen has made a handful of tracks available. Their sound is grounded in the rapidly approaching cyber-dystopia brought on by Rossum's brain-wiping technology—it is gritty and electronic yet sophisticated. Throughout the series, "music box" arpeggios and piano capture the childlike innocence of "actives"—people who have had their minds wiped, leaving them in a blank state. "Taking Down Rossum" marries the high-pressure action of infiltrating the headquarters of the series "Big Bad" with the delicate Actives motif.

"Red Ledger" — Alan Silvestri, The Avengers

For The Avengers, Alan Silvestri was faced with the daunting task of scoring the story of a band of vastly different heroes—few of whom actually get along. While "Helicarrier" and "The Avengers" are certainly the most grandiose of the score's cues, I'm most drawn to "Red Ledger," which evokes work from Silvestri's prime. It begins with Natasha's theme, recalling back to when she "interrogates" Russian thugs at the start of the film. The music is hushed as Loki works to manipulate her, but just as we hear the two melodies play counterpoint to each other, Natasha is playing against Loki. After the Black Widow wins her bluff, Loki's manipulation continues—her counterpoint disappears and he weaves beneath the increasingly heated conversation of the Avengers.

So, will the past inform the future of music in the Whedonverse? Very likely. Alongside the superheroic music expected of a Marvel program, we can anticipate music that McCreary has described as "quirky and intimate" and very much in the vein of both Whedon and McCreary's earlier work. I believe we can expect orchestral melodies that will highlight Agents of S.H.I.E.L.D.'s narrative, and thematic development that is tightly tied to the show's characters.

What do think we'll hear in a McCreary-Whedon pairing?

Top Ten James Newton Howard Scores

Top Ten James Newton Howard Scores
by Christopher Coleman

Once upon a time, I didn't think The Postman was a great score, nor any of James Newton Howard's scores...to be honest.  I can still hear the cries and wailing of the offended as I would share this bit of my taste.

But that was a long time ago and tastes do mature over time.  Don't they?

James Newton Howard has become a true favorite of mine over the last 10 years.  When given the chance, he can wring out more emotion from a handful of notes than anyone working in the business.  His range is wide, writing scores for animated features, sci-fi, horror, historical dramas, and even date-movies.  There's little wonder he remains busy year after year.

So below you will find my current top ten list of James Newton Howard scores.  Once again, like my Hans Zimmer Top 10,  you will not find collaborative efforts like The Batman/Dark Knight Trilogy.  And let me just break some hearts right away, two scores that fell just outside of my top ten were:  Atlantis and Blood Diamonds, so you won't be finding either of them below.  You may find some of your favorites listed here, but hopefully you'll discover some James Newton Howard score you may have overlooked until now.

Here we go:

#10 - The Village

While M. Night was still getting a collective pass due to his coming-out party of THE SIXTH SENSE, James Newton Howard continued to show that he gives his A-game regardless of the material.  The mystical, beautiful main theme stands out among Howard's most intoxicating uses of strings in any of his works, even if it is a bit derivative of some of his other works...some that you might just find later on in this list.


#9 - Lady in the Water

Another unfortunately maligned film from M. Night Shyamalan, LADY IN THE WATER, finds itself offering some of Howard's most poignant musical moments of his career.  The simple animated prologue set audiences up for a fairy-tale adventure that the rest of the film arguably did not deliver upon.  Whether one "got" the movie or not, the closing sequence containing the cue "The Great Eatlon" is undeniably a powerhouse of film music and continues to deliver goose-bumps to those who listen to it.


#8 - Dinosaur

As Disney moved into world of 3D animation, they continued their collaborative relationship with James Newton Howard.  Having scored ATLANTIS and TREASURE PLANET,  there's little wonder that they went with Howard for their big, 3D-adventure, which followed a group of migrating dinosaurs.  Howard's ability to bring the images on screen to life through music was never demonstrated any better than in the track "The Egg Travels."  The animated playfulness gives way to African rhythms and vocals before the brass and strings bring the piece into the era of the unforgettable.


#7 - Unbreakable

What would Mr. Shyamalan do without Mr. Howard?  Not much apparently.  The director's second feature didn't receive the praise of his death-sensing rookie effort, but should have.  Bringing a level of "cool" to this effort is ... no, not Samuel L. Jackson's involvement, but Howard dropping the popular (at the time) rhythmic-hook into the movies main theme.  While the piece ascends from a mysterious darkness, the rhythm keeps the piece driving forward with a bit of funky-determination.  It's true that this very element does date the score (it has been 12 years afterall), but evenso UNBREAKABLE remains distinct among Howard's distinctive portfolio.


#6 - Signs

This unfairly maligned entry from M. Night Shyamalan offers one of Howard's most suspenseful scores of his career.  SIGNS is pensive cross between John Williams work for Close Encounters and Bernard Herrmann and goes a long way to helping the film establish and maintain it's moment-to-moment chills.  Newton Howard's work here is almost a character unto itself.  While not the icon that Williams' 5-note motif from Close Encounters eventually became, Howard's 3-note ostinato certainly remains with viewers long after the film has ended and is nearly as effective.


#5 - Wyatt Earp

James Newton Howard's wonderfully, warm, Americana score for Kevin Costner's epically long film, which focuses on the life of the Wyatt Earp; a soldier, turned criminal, turned sheriff, offers one of his most unforgettable title themes.  The theme has been adopted and implemented in trailers, television and radio programs.  Wyatt Earp was produced during Hollywood's Western revival of the 1990s, which afforded some of the most unabashedly heroic and sweeping scores of any era since.  Of course that trend has long since ended and so far less opportunities exist to deliver such rich music.  In Howard's case, there is a specific "grandness" to his score here that continues to make it a stand-out-effort amidst his extensive portfolio.


#4 - The Postman

Yes. Yes.  I agree the movie was another Costner-post-apocalyptic-stinker, but as with Waterworld (a good score, but not good enough to make this here list), Newton Howard was clearly able to transcend the on-screen...limitations.  He does what he does best once again: adventure and romance in spades.  His title theme is unashamedly heroic (even patriotic) romp that, when played with the images on the screen can certainly induce a spasm from our internal, musical-cheese-rejectors, but when divorced from the screen are just as inspiring many of his other similar pieces.  Add to this another goosebump-laden, love theme and there's almost no way The Postman can be omitted from anyone's top 10 list.


#3 - The Last Airbender

Say what you will about how bad the film was (and I'd probably agree with you), but there's no denying that Howard provided a score well-fitting the epic that THE LAST AIRBENDER could have, no, should have been.  While Shyamalan's grade might have bottomed out here, Howard's powerful, yet passionate score reminded us that he's still got the massive, symphonic music coursing through his veins.  From start to finish this score entertains and scintillates and, if not for 2010's How To Train Your Dragon (John Powell), this would have been my top score of the year.


#2 King Kong

With creative differences between director Peter Jackson and composer Howard Shore severing their collaboration for the 2005 edition of KING KONG, James Newton Howard was called upon to step in at the 11th hour.  Amazingly, he delivers one of the most well-rounded and entertaining  scores of his career.  The music contains all of the mystery, action, thrill and romance one might hope for in a Kong-flick.  Perhaps the greatest and most pleasant surprise of the score (and film) is the level of heart injected into it.  Ann Darrows starry-eyed, but heartbroken piano-lead theme is only surpassed by Newton Howard's "beautiful" theme.  Just as everyone, save Darrow, could not see or imagine the heart and intelligence of "the beast," so most anticipating this film could expect quite this level of feeling. Of course, as we would definitely expect, Newton Howard delivers the goods when it comes to hellacious action-scoring and unforgettable, heroic fanfares.  It bears emphasizing that our composer had less than two months before the movie was to release to write and record this score.   While the music itself puts it into #2 position, this fact ensures its position and even curried the thought of moving it to number one...but not quite...


#1 - Snow Falling on Cedars

What can I say about this film and score?  How has it reached the #1 position?  The moody, yet immaculate images of director Scott Hicks and cinematographer Robert Richardson are matched, if not elevated, by James Newton Howard's forceful score.  Whether its the solitary bell tolls, yearnful strings, weighty taiko drums or suddenly sublime choir, few of Newton Howard's scores can rival the diverse excellence here.  Several, more commercially well-known, scores from his massive portfolio went on to feature similar elements, but none of them eclipse what he has done here.  Newton Howard brings heft and heaven together for Snow Falling on Cedars and if there is one soundtrack to start your JNH-collection with, this must be the one.


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So there it is...all the James Newton Howard goodness one list can contain.

The most unfortunate thing about this post is that no work from James Newton Howard composed in the last couple of years has made this list (The most recent being The Last Airbender).  His recent scores, while mostly adequate for their respective films, have lacked the most all of the verve and beauty of any of these listed here.

Be on the lookout of a bonus edition of The SoundCast where I sit down (literally) and talk with Helen San about this very list!

Do you have another title you think should have made my list?  I dare you to post it in comments below.   If you need further convincing of the brilliance of this list you can listen to the selections from all ten here in our special Youtube playlist.

10 Best Pieces From Doctor Who Seasons 1-4

“10 Best Pieces From Doctor Who Seasons 1-4”
by Thomas Midena

Murray Gold is one of my favourite composers working today. But unlike someone like Hans Zimmer, whose work varies because of the various films they work on, for many years Murray Gold has been slaving away to one show: Doctor Who. Luckily for us, this doesn’t mean he has lacked in his creative range. Doctor Who has given him a chance to explore dozens of flavours of music, and since he joined the show in 2005 we’ve been graced with an indecent number of incredible soundtracks.

For those who either aren’t familiar with Murray Gold’s work on Doctor Who, or those who haven’t listened to it for a long time, I am going to list my 10 favourite pieces from Doctor Who Seasons 1-4. That includes the entire Christopher Eccleston and David Tennant eras, from 2005 to 2009. This is by no means an easy task, and I have had to exclude a ridiculous number of tracks which I wholeheartedly adore.

Nevertheless, here are the 10 pieces I believe to be the best from Doctor Who Seasons 1-4.


10. The End Draws Near

This piece boasts a truly epic cinematic scale which is totally inappropriate for television - and that is why I love it. The latter half of the piece is a perfect example of the sense of excitement Murray Gold can weave into his music.




9. The Futurekind

It’s a perfect Doctor Who action cue if ever I’ve seen one. Groovy, cheeky, and intrinsically Sci-Fi. In the episode it comes from, “Utopia”, this piece makes running around with brutal cannibals at the end of the universe seem like buckets of fun! This track may be short but it ain’t short on fantasticness!




8. All The Strange Strange Creatures

It’s the action theme for the David Tennant era. For any fan of the show this piece is sure to conjure up images of The Doctor running about in his brown trenchcoat, dashingly classy hero as he is. There’s bucket loads of Doctor Who’s signature ‘screaming brass’ in here, too.




7. Doomsday

It’s Rose’s Theme gone wild with tension, drama and an unhealthy dose of sadness. A sweeping mixture of piano, drums, electric guitar and indisputably beautiful vocals. It’s one of Murray Gold’s more rhythmic pieces, and I find it makes me cry and tap my foot at the same time. Wait, I’m a man - did I say I cried? No, there’s just something in my eye … *sniff*




6. A Special Sort Of Bus

This pick from “Planet Of The Dead” may seem an unusual choice. It’s certainly a much lighter and optimistic piece than everything else here. But out of my entire music library, this is one of my most replayed pieces over the last couple of years. It’s also the ringtone on my phone. It’s so stylish. I’m disappointed it was only used the once, and in an episode I didn’t like very much.




5. Vale Decem

It’s the “End Of Time” for the 10th Doctor. The incredibly haunting choir sings ‘Vale Decem’ throughout, which is ‘Farewell, Ten’ it Latin. It builds and builds, until we are graced with one final (and epic) rendition of “The Doctor’s Theme” as David Tennant regenerates into Matt Smith.




4. The Doctor Forever

Did I mention sadness? There’s more emotion in this piece than a school playground. This track from Season 3 takes “The Doctor’s Theme” from the first season and builds it into something tragically heroic. The first half of this piece has appeared in at least half a dozen episodes of the show, and for very good reason. It’s magical.




3. The Doctor’s Theme Series 4

Speaking of magical, I’m segwaying again! It’s the latter end of Season 4 and The Doctor has become lonelier and more tragic than ever, and this is his song to match. The way it is used to conclude the episode “Forest Of The Dead” blows my mind every time.




2. A Dazzling End

If Doomsday is the continuation of Rose’s Theme, then this is the climax to Donna’s Theme. Murray Gold has entwined reckless levels of excitement into this piece. A bass guitar thrums the whole way through like a heartbeat, and the high pitched strings cry out the sense of finality approaching.




1. This Is Gallifrey: Our Childhood, Our Home

This stunning theme for The Doctor’s home planet is filled with sadness and longing, but never ceases being beautiful. In the show it is used as a backing track for David Tennant’s monologue about Gallifrey, but this ain’t no backing track. It deserves to be played loud and frequently. This is a fine example of Murray Gold’s incredible work as a composer on Doctor Who.





Again, there are a ridiculous number of incredible pieces I didn’t mention here, but I had to narrow it down to 10 else this article would go a bit bonkers. Your favourite music is also a very opinion-based topic, so let me know what you think! Are there particular pieces you think should have made it into my top 10?

Seven Scores to Satisfy Your St. Paddy's Day

In marking the day, I decided to make a post featuring seven scores that might bring ya a bit of Irish-luck today. These fine scores were all composed for films that were principally set in or about Ireland. Now, you might find a few titles missing from the list here and that's most likely because you're confusing scores written for films which were set in Scotland and not Ireland. Don't worry lads and lasses, it happens all the time, but don't tell your Irish or Scottish friends you made such a mistake. And a word to ya before you go having a tizzy, because not every note of every score listed is 100% Irish in its instrumentation or composition. This ain't no Irish Folk Music list, my friend. So with that bit out of the way, I think you'll find some good music here to help ya pass ol St. Paddy's Day.



MICHAEL COLLINS by Elliot Goldenthal




FAR AND AWAY by John Williams




RYAN'S DAUGHTER by Maurice Jarre




ANGELA'S ASHES by John Williams




THE QUIET MAN by Victor Young




SECRET OF KELLS by Bruno Coulais




DURANGO by Mark McKenzie




So that about does it...or does it?  Perhaps you were assuming Randy Edelman's score for LEAP YEAR was going to be on the list since the opening image comes from that film.  While it's a decent rom-com score, it didn't quite make my top seven list and besides I'm thinking a picture including this fine lass is far bit better than a bunch of clovers, leprechauns, or old gents swiggin' down a pint or two.  Wouldn't you agree?

Anyway, did I miss any good scores for Irish-based films?  Let me know in the comments.

The Top Ten Scores of Thomas Newman

Ranking the works of Thomas Newman might seem an easy task given the composer’s wealth of career-projects; however, it’s almost as frustratingly difficult as being nominated for an Oscar but never bringing home the golden bacon.  Nevertheless, I take on this formidable task with giddy eagerness because it affords me the chance to dive back through some of most emotionally stirring movie music to come out of Hollywood over the last 20 years.

The one easy part for me (which may make some of Newman’s fans immediately upset) is eliminating from contention almost every one of his works that can be grouped into the category I call the “American Beauty Group.”  There were a plethora of scores that Newman produced, principally in the 90s, which were of this quirky, minimalist variety best exemplified by his highly recognized score for AMERICAN BEAUTY.  Others that fall into this group, and hence immediately out of contention from this top ten list would be among others:   WHITE OLEANDER, PAY IT FORWARD, ERIN BROKOVICH, IN THE BEDROOM, and SALTON SEA.

That said, and somewhat ironically in light of the popularity of some of the aforementioned titles, few composers can do “majestic” like Thomas Newman.  While some of his scores can almost be indistinguishable from one another, often times, there are incomparable moments of wonder, exultation, and brilliance dotted throughout these very same scores.  One may find that scores like this, which tend to trend earlier than later in his prolific career, dominating my top ten list.



#10 - REVOLUTIONARY ROAD



One of 2008’s most powerful and best acted films was directed by Sam Mendes, which pretty much ensured that Thomas Newman would be on the case as well.  Again, Newman provides a dream-like, sonic landscape with piano, woodwinds and strings, supporting the apparently young and loving, suburbanite-couple perfectly.  However, Newman’s introduction of jazz improvisations and progressions tells us that this story will go in unanticipated directions and that this relationship is far from harmonious.  The end result is a score that, if experienced within the gut-wrenching film, can hardly be forgotten.


#9 - WALL-E 



One of Pixar’s top efforts, WALL-E, featured very little dialogue, putting a greater amount of weight on its original score to help tell the story.  Newman is clearly up to the challenge effetively adding even more layers and textures to his strongly ambient style.  He crafts a memorable robot-love theme and treats us to a number of playful and innocent themes which are well contrasted by a handful of thrilling action sequences.


#8 - THE HORSE WHISPERER




Looking for something majestic?  If so, then The Horse Whisperer is for you.  The title theme is oft used throughout the movie, sometimes reaching emotional peaks that Thomas Newman has become adept at scaling...when he is allowed to.  The reason this title isn’t higher is simply due to the abundance of blue-grass-flavored tracks that break the rapture these other tracks have produced.  That, and because the tracks containing his summit reaching music are so very brief.



#7 - MEET JOE BLACK



Anyone who has seen this film or listened to the soundtrack has certainly not forgotten the film’s climax or Newman’s underscore.  Wait. Saying “underscore” is a poor choise of words as there is nothing “under” about this piece.  “That Next Place” (which is over 10 minutes in length) is one of the most emotionally, over-the-top-cues you will ever hear...and that’s why so many love it so!  While that and the track “Walkaway,” with its gentle introduction to the score’s main theme, get the majority of attention on this soundtrack, there is quite a bit more to appreciate.  It’s not groundbreaking in anyway, but Meet Joe Black is a great representation of Thomas Newman’s talents.

#6 - SHAWSHANK REDEMPTION



Here’s one that suffers from it’s own success.  Some of the grander moments of his music for Shawshank, like the majestic “End Title” have gone on to the realm of trailer-abuse.  We have heard it so many times, attached to so many things, that it may have lost some of its potency or even become a bit of a parody. Regardless of the later abuse, pieces like “So Was Red” remain among Newman’s best.  Now, outside of those well-worn, but still satisfying pieces, Newman’s bass-lead Stoic theme, plods along in its own monotonous desperation until his ever-hopeful strings join in the undulating rhythm.  Newman’s score should be seen as every bit the classic that the film itself has become.

#5 - ROAD TO PERDITION



If anyone could make an Irish-mafia film contemplative and melancholy, Thomas Newman could...and did for Road to Perdition. This was certainly one of Newman’s stand-out efforts of the early 2000s, as his languishing strings are this time punctuated by by lively bagpipes and tin whistles.


#4 - ANGELS IN AMERICA



The somewhat controversial HBO series won Golden Globe and Emmy for Best Mini-Series and was the most watched series made for cable movie in 2003.  While Newman didn’t receive any major nominations for his work, his music, no doubt makes a significant impact on the audience.  Newman underscores the pain filled stories of the series’ central characters utilizing his familiar palette of instruments and techniques, but he also, on occasion, gives us doses of frightful dissonance attached to glorious choral eruptions. Infused with Newman’s familiar ethereal qualities, ANGELS makes for a more intriguing and unpredictable listen than many of his other works from the early 2000s.


#3 - HOW TO MAKE AN AMERICAN QUILT



Newman’s title theme for this film alone carries it to this lofty position in my top 10.  While the ingredients of the piece are common to much of his work in the mid-1990s: soft strings and lead oboe, Newman’s languishing theme hits home.  The same can be said for his track “The Diver” which bears close resemblance to memorable pieces from The Horse Whisperer, but QUILT precedes that film by several years.  Unfortunately, the soundtrack release saw Newman’s efforts painfully interrupted by the likes of Bing Crosby, Neil Diamond, and Benny Goodman.  This score has always deserved a more complete release.

#2 - OSCAR AND LUCINDA



Newman provides a surprisingly contemporary take on the story of a priest and an heiress who look to build a glass church...in the outback of Australia no less.  The story affords Newman a natural opportunity to employ the use of glass and chimes to great affect.  The other striking inclusion is that of the full choir in the title theme; showing up at the most elevated moments of the film.  Looking at Thomas Newman’s extensive list of scores, the use of full choir is rather rare, especially in this very traditional manner.

#1 - LITTLE WOMEN



The mid to late 1990s found Thomas Newman at the top of his game and his score for LITTLE WOMEN is the tops of the top.  Not only offering a Christmasy-good-title-theme, “Orchard House,”  but the interior tracks also contain a special brand of magic and emotion found in varying quantities in his other works of this era.  His liberal and bright use of brass, bells and other chromatic percussion on top of his familiar string lushness truly distinguishes this effort and places it firmly in the top position.


So there you have it!  Did I miss one of your favorite Thomas Newman scores?  Let us know what your favorite Thomas Newman scores are in our comments section.

Top Ten East Asian Scores - Live Action Edition

Top Ten East Asian Soundtracks by Richard Buxton


Watching films of the Far East and listening to their scores can often be a frustrating experience for someone in the West. The magnitude of the musical talent on offer in the likes of Japan, China and South Korea is astounding, yet it is a rare occurrence for their ability to grace the sounds of a Western film and thus depriving a significant portion of worldwide audiences of outstanding musical material.

In this Top 10 I have chosen my favourite East Asian scores for live-action film and television after the year 2000. Choosing 10 from over a decade of spectacular film scores was difficult to say the least. Having to leave out the many NHK Taiga drama scores, Tan Dun and Kousuke Yamashita among others was certainly a difficult decision, and the likes of Taro Iwashiro and Naoki Sato could quite easily fill this entire list by themselves. Such is the talent available in the Far East, a number of these score would be in contention for a worldwide top 10, and are therefore most certainly worth your attention.


10. Gō: Himetachi no Sengoku by Ryō Yoshimata

Ryō Yoshimata is TV’s first representative in the top 10 and paves the way with a superbly unpredictable score. Yoshimata’s compositions range from calming string passages, to unrelentingly dramatic action cues. Yoshimata curiously ventures into a Latin soundscape at times, making this score a refreshing change from the stringent routine so many follow today.






9. Year One in the North by Michiru Oshima

Listening to Oshima’s score for Year One In The North will likely leave you in a state of confused frustration. The undoubtedly beautiful themes on offer here convey a feeling of restraint and suspicion that Oshima could have produced even greater things. Nonetheless, Year One In The North is an often breathtakingly evocative score and well worth listening to.





8. Haru No Yuki (Spring Snow) by Taro Iwashiro

Perhaps the most unique score within this list; Haru No Yuki is a wonderfully restrained, but unequivocally beautiful experience. Truly appreciating Taro Iwashiro’s score might require more than a single play through, but the time spent is certainly worthwhile as the heartbreaking orchestral music on offer here is unequalled in emotion.





7. Umizaru 3: The Last Message by Naoki Sato

The Last Message is often uncharacteristically brooding affair by Naoki Sato that results in some wonderfully timed moments of orchestral catharsis. The Last Message is one of Sato’s more Western sounding scores, with more than a little Remote-Control present, but is still a fantastic musical offering.





6. Gaku (Peak: The Rescuers) by Naoki Sato

Peaks and Valleys would be an apt for description for Naoki Sato’s rollercoaster of a score. Moving from gorgeously delicate horn and woodwind melodies, to unyielding percussive action, to soaring orchestral themes, Gaku is a score that grabs the attention and never lets go. Written for Television, Gaku’s score would be equally at home on the big screen such is the depth of the sound on offer here.





5. Curse of the Golden Flower by Shigeru Umebayashi

Perhaps the most internationally known film in this list, Curse of the Golden Flower presents an unmissable opportunity to hear Shigeru Umebayashi at his very best. His combination of traditional orchestral might and ethnic instruments is at times achingly beautiful, particularly in the outstanding two closing tracks of the soundtrack. Not to be missed if you yearn for a more traditionally Eastern sounding score.





4. Legend of the Four Gods by Joe Hisaishi

The third TV series in the list, and the sole appearance of South Korea. Regardless of the country of origin, Hisaishi’s score is one that will hook listeners instantly with the beautiful opening rendition of the show’s main theme. Primarily known for his music heard in the films of Hayao Miyazaki and Studio Ghibli, Hisaishi shows he can shift between animation and live-action seamlessly. No doubt, this is among the very best of Hisaishi’s career.





3. Red Cliff by Taro Iwashiro

A Japanese composer for a Chinese historical epic and the most expensive Asian financed film to date. The formula certainly works, as Taro Iwashiro’s score is instantly gratifying with a tremendously catchy main theme that is reshaped beautifully throughout the score. Both Chinese soundtracks (Parts 1& 2), and the US soundtrack are rounded out by stunning vocal performances by Chinese vocalist Alan.





2. Space Battleship Yamato by Naoki Sato & Yasushi Miyagawa

Relentless. One word to describe Naoki Sato’s assault on the emotions during Space Battleship Yamato. The Japanese special effects extravaganza may have been a feast for the eyes, but the score does wonders for the ears. Naoki Sato’s outstanding talent for fleshing out onscreen emotion and excitement is in full-effect here and results in a consistently thrilling listen. His third appearance in this list, confirming that I am indeed a Naoki Sato obsessed.





1. The Promise by Klaus Badelt

The Promise is quite easily the highest point in Klaus Badelt’s career so far, and would compete for that honour in the back catalogue of numerous composers today had they composed it. The use of a German and Hollywood famed composer for a Chinese film may have seemed a curious decision, but has yielded unforgettable results. From the heart-wrenching love theme to the breathtakingly beautiful opening vocal piece, The Promise is a stunning score of the absolute highest calibre, and is among the best scores in recent years of not just Chinese and East Asian cinema but worldwide.




So what do you think?  Tell us some of your favorites scores from this largely unexplored sub-genre of music!

Top Ten Scores from Composer Hans Zimmer

Back in 2009, I did a little Top 10 list for composer James Horner.  It wasn't very easy to narrow it down to just 10 scores, but that was nothing in comparison to the torment of compiling this latest list.  Hans Zimmer, or perhaps more accurately, his style of music, is one of the more polarizing things in the world of film music fans.  Directors and studios are clearly still infatuated with what the man can produce...and, I say, that's well justified.  While bludgeoned for "not having enough originality" or for spawning off "clones," even a moderate examination of Zimmer's portfolio shows that he (and his crew) are capable of a great deal of diversity....especially when looking back a couple of decades across his full body of work.

So I've taken on the daunting task again...this time giving you my top 10 Hans Zimmer scores to date.  To make things a little "easier" I've eliminated from contention most of his projects where there are multiple composers credited (ie. The Rock, Kung Fu Panda, The Road to El Dorado, etc.)...with one notable exception, which you'll, no doubt, notice below.  Evenso, it was still a very difficult task and let me just give you a few that could have very well made this list...but didn't:  THE LION KING, BACKDRAFT, CRIMSON TIDE, THIN RED LINE.

So what IS on the list then?  Proceed, see, and listen...

#10 -  Sherlock Holmes

For those that say Zimmer doesn't do anything innovative then they simply haven't heard SHERLOCK HOLMES yet.  This 2009 release couldn't be any stronger evidence to the contrary. Save for a few elements from Pirates of the Caribbean and perhaps RANGO, there is hardly another score in the composer's portfolio that even comes close to this off-kilter and playful score.

#9 -  Inception

Inception features one of the most clever moves made in a film score in recent memory.  The use of a note from Edith Piaf's song "Non, je ne Regrette Rien," is more than an audio-easter-egg, but has a direct tie to the plot and structure of the film.  The more dream-levels we dive into, the slower the note is played...as those in the successive dreamworlds would hear it. While the overall score may not be his most unique, it ranks #9 due to its cleverness and perfect fit for  the film.

#8 -  Spanglish 

Not a score you hear much talk about, but Zimmer (along with Heitor Periera's mesmerizing guitar) crafts his best score for a romantic comedy.  Spanglish is a charming score further proving the composer actually has more variety than given credit for.

#7 - Pirates of the Caribbean: At World's End

The lucky #7 slot is filled by the best score of the Pirates of the Caribbean Trilogy.  According to Zimmer, at the time, this was to be the last of the film's so he and his cohorts could truly let loose on the score...and my hearties, did they ever.  At World's End is a rousing and adventurous and unforgettable romp and was duly honored at the Tracksounds Cue Awards of that year.  Obviously, the Pirates world didn't end there, but On Stranger Tides doesn't reach the heights or depths of the third film.

#6 - Gladiator 

Gladiator debuted while I was actually in Italy and so it will always have a special place in my listening-heart.  Whenever I hear it I'm instantly transported.  While Lisa Gerrard's contribution is considerable, even without that element, Zimmer brings an ancient power to life and helps to make a number of movie moments absolutely unforgettable.

#5 - Beyond Rangoon 

This is an often forgotten about score going way back to 1995.  Beyond Rangoon features one of Zimmer's most exotic and mesmerizing main themes.  While it echoes a number of his recognizable stylings of the era, his use of flute and wordless vocals sets it apart.

#4 - The Prince of Egypt 

Simply put - one of the best scores for an animated film to date.  While Stephen Schwartz's original songs provide such great character for the film, Hans Zimmer's score is deep, soulful, and inspiring.  Both the film and score have never received their due - at least as deserving as the Oscar winning score from The Lion King.  Once again his ability to graft in culturally appropriate instrumentation and keep the score  generally consumable by the masses is on display.  The Prince of Egypt is at once an incredibly nuanced score but and excitingly exotic and emotional ride.

#3 - The Da Vinci Code

A tour de force.  There's no other way to put it.  Zimmer simply holds nothing back for The Da Vinci Code.  Unfortunately, the film didn't live up to the book...nor to it's own score, but read the book while listening to this and see just what sort of experience you have.

#2 -  The Last Samurai

If it weren't for the dominance of The Lord of the Rings, I'm quite certain that The Last Samurai would have received much more attention than it did back in 2003.  Both the film and it's score, like many others that year, were simply squashed by The Return of the King.  Peter Jackson's film and Howard Shore's score just slammed the door of possibility on everyone.  Zimmer embellishes his recognizable style with Japanese taiko, shakuhachi, and even Native American vocalists - the end result remains poignant after countless listens.

#1 -  The Power of One 

Anyone who knows me, this site, or our podcast, will not be surprised at this title coming in at number one.  I have lauded it for years.  As great as The Lion King seems to be in the minds of many, The Power of One was a powerful predecessor that scars and takes just a bit of the pride out of the 1994 Disney score.  With the marvelous vocals provided by Lebo M and company, The Power of One is a score that simply oozes with the rarest commodity, heart.  All hail the true king of Zimmer scores!

Favorite Romantic Movie Themes

For this Valentines Day - we bring twenty-one of our favorite romantic movie themes - guaranteed to get you all happy and sappy, if you aren't there already.  This list is certainly not exhaustive but touches on great love themes from several eras of movie music.


Storybook Love (The Princess Bride) by Mark Knopfler

It's been named many times as the score that first captured the attention of future film music composers.  The film, The Princess Bride, is nothing less than a classic and that is at least in part to Mark Knopfler's simple but memorable love theme.





Partition (Partition) by Brian Tyler

Not a name you might associate with a lush, romantic theme, but in this much-overlooked film, Brian Tyler shows he can handle forbidden romance as much as he can fast-paced action.





For the Love of a Princess (Braveheart) - James Horner

In 1995, James Horner was at the top of his game.  Amidst some of his most memorable cues of all time comes this wonderful love theme; a theme that remains as romantically full as when we first heard it.





Love Theme (Romeo and Juliet) by Nino Rota

What list would be complete without Nino Rota's unforgettable love theme to Romeo and Juliet?  It's the first theme on this list that falls into a special group; themes that have become so well known and, at times, over-used, that we forget how magically romantic they truly are.





Across the Stars (Star Wars: Attack of the Clones) - John Williams

One of the very few positive things to come out of Episode Two of the Star Wars saga was John Williams  classically-styled-love theme; one that was both full of love but also tragedy (not unlike the preceding track from Rota).  Williams' theme is overflowing with the most romantic of all midichlorians - enough to make even the most hardened spice pirates cry, or fall in love, or something.





Lara's Theme (Doctor Zhivago) - Maurice Jarre

Fast approaching 50 years since it's debut, Maurice Jarre's memorable theme from the epic David Lean film continues to pack a special, unmatched charm.  While it doesn't get plays on the airwaves as it did in the late 1960's, it remains one of the most identifiable and beloved movie love themes of all time.





Beautiful (King Kong) by James Newton Howard

Of course the irony of a beast understanding and appreciating beauty was not lost on composer James Newton Howard and the talented composer delivers a delicate piece of music that goes under-appreciated in light of the overwhelming "bigness" of the score.  In his own masterful way, Newton Howard underlines the obvious beauty of the track with sense of wonder, but also impending tragedy.  Sounds like love to me.





Love Theme (Dances With Wolves) by John Barry

The theme representing the love between Dances With Wolves and Stands With A Fist carries that classic, lush John Barry sound.  It is a shame that film composers don't get many opportunities to write such music any longer, but at least we have Barry's romantically abundant library to return to.





That Next Place (Meet Joe Black) by Thomas Newman

While the film didn't do very well  - despite it starring Brad Pitt, Anthony Hopkins, and oh let us not forget the enchanting Claire Forlani - Thomas Newman's score did receive some due attention.  Here, he takes his simple love theme and transforms into an amazing climactic piece.





Theme from Sabrina (Sabrina) by John Williams

I wasn't a huge fan of this remake, but John Williams held up his end of the deal by delivering a thoughtful piano-led theme for Sabrina.





Love Theme (Ben Hur) by Miklos Rozsa

Of course Ben Hur is known for its epic tale and epic scale, but Rozsa's lush and languishing love theme between Judah Ben Hur and Esther remains a beautiful high point every time it appears in the film.





The Wedding (Legends of the Fall) by James Horner

Why this film is considered a guilty pleasure is beyond me.  John Toll's beautiful photography is duly matched by James Horner's emotional score.  I, for one, have no guilt in watching this film or playing it's score repeatedly...and on Valentines Day, it should be mandatory.





Love Theme (The Saint) by Graeme Revell

Now here is a theme that you may have forgotten about.  Revell's love theme for The Saint might be his single best piece.  While the finale of the film has a slightly more energized version of this sumptuous theme, the piece we have here is just simple - simply rapturous.





Love Theme (Spartacus) by Alex North

Another classic.  Alex North's love theme remains one of his most beloved.  Perfectly embodying the love between Spartacus and Varinia, North's theme carries the film to it's emotionally potent conclusion like few love themes have done since.  With all due respect to those who have written music for later incarnations of the Spartacus story...no one comes close to this.





Emma (The Time Machine) by Klaus Badelt

Here's one you may have never heard...or just forgotten about.  Going way back into the career of Klaus Badelt we have The Time Machine and for the character, Emma, Badelt showed us that he could carry the romantic as well as he could the rambunctious.





Rose (Titanic) by James Horner

Admittedly, this 1997 theme from James Horner has gotten its fair share of plays.  Perhaps, to its own detriment, it received more than its share.  As a result, Rose's theme may not pack the same punch that it did back then, but, if we are going to be honest, many of us were pretty enthralled with it for a few months.  So being over 15 years away from Cameron's big tale, it might just be ok to start playing and enjoying this one again.





Rowena's Theme (Mr. Holland's Opus) by Michael Kamen

From the first moment I heard this piece from Michael Kamen, I was enchanted.  As romance does at times, there is bit of melancholy in Kamen's work here.  This version from the compilation album, Michael Kamen's Opus, has not lost an ounce of its potency.





Confluence (Memoirs of a Geisha) by John Williams

Concluding the beautifully shot film of Memoirs of a Geisha, John Williams piece brings all of the disparate pieces of Sayuri's life together in this track; filled with longing and disciplined beauty which has been tinged with sadness.





All Love Can Be (A Beautiful Mind) by James Horner

Charlotte Church's voice brings a certain solidity to James Horner's ever present theme in A Beautiful Mind.  While there are a number of familiar Horner elements which comprise this music, Church's voice makes it something special...something that captures the essence of innocent commitment and the selflessness of love.




Love Theme (Superman) - John Williams

As we wind down this list we return to the rapturous style of love theme that was certainly acceptable in the late Seventies.  Williams' theme for Superman and Lois Lane sees a number of renditions, including a pop-vocal, which I'm still trying to forget over 30 years later.  Still, the theme is ripe with all that made John Williams a wielder of true musical magic back then.  This piece, as do so many of his best from that era, repeats and builds to new heights until those with the slightest issues with vertigo will have a hard time taking it all in.  For Superman, we have the most triumphant of love themes - as well we should.




Estella's Theme (Great Expectations) by Patrick Doyle

We close this list out with a piece from Patrick Doyle that will ever be one of his finest.  In this modern retelling of Great Expectations, Doyle's guitar-led theme for Estella is at once innocently charming yet with the potential of being mercilessly seductive - a trait he later exploits in the track "Kissing in the Rain."





There you have it; some of my favorite romantic movie themes.  I can garauntee that one pass through these tracks and you will have your romantic target in full swoon mode.   Of course, I may have missed one or two themes, so feel free to post your faves!