We haven't talked film music in a while so here are my nominees for 10 best/most interesting cues of the last 10 years in no particular order.
- "Toccata and Dreamscapes" - Final Fantasy: The Spirits Within (Elliot Goldenthal, 2001). Combine Penderecki, Ligeti, late-Romanticism and a former blues pianist and mix vigorously.
- "Main Title" - Signs (James Newton Howard, 2002). Three pitches. Three rhythmic durations. Build your entire score on that. Go!
- "Lighting of the Beacons" - The Lord of the Rings: Return of the King (Howard Shore, 2003). Few music/cinema moments are as satisfying as this. Ever.
- "Glamdring" - The Lord of the Rings: The Two Towers (Howard Shore, 2002). It seems unfair to use two examples from LOTR, but I don't really care because it's my list. What captures it for me is the part where Gandalf falls until the end of the cue. Genius. Especially the long shot of Gandalf and the Balrog falling together into the lake. Cinematic beauty.
- "Trinity Infinity" - The Matrix (Don Davis, 1999). I know. I could've picked "Mona Lisa Overdrive" or "Neodämmerung" or even "Ontological Shock". But "Trinity Infinity" set the tone beautifully for all three scores and their films. It was one of those beautiful rare occasions of something unheard of in film that is used not as a gimmick but as an honest-to-dog structural tool.
- "Dead Already" - American Beauty (Thomas Newman, 1999). This is too different and quirky not to include. While it's a great score it has inspired a host of imitators which, I guess, is the sign of success.
- "The Battle" - Gladiator (Hans Zimmer, 2000). This is where Pirates of the Caribbean really began. This might be the first Zimmer blood-and-thunder cue in which you don't get bored or wonder where the hell he's going with it. Nope. It actually sustains interest from beginning to end.
- "Buckbeak's Flight" - Harry Potter and the Prisoner of Azkaban (John Williams, 2004). Don't ask me. I don't know why. I just love this cue. I fell in love with it the very first time I heard it. I guess it has something to do with the way it almost too perfectly captures both the wonder, excitement, melancholy and sadness of Harry's existence.
- "The Fire Dragon" - The 13th Warrior (Jerry Goldsmith, 1999). A cue built from a single idea that gradually increases in intensity, is completely relentless, and never loses interest. Awesome.
- "Journey to the Line" - The Thin Red Line (Hans Zimmer, 1999). This is the single greatest piece of music Hans Zimmer has ever written. Comparisons to Barber's Adagio aside it just seems so audaciously simple. And as we have learned in recent months, audacious and simple aren't necessarily bad things.
Now it's your turn. Go!
47 comments:
That may be true. But it doesn't get us any closer to your list. I suspect we'll have a few in common. But I've been wrong before...once.
I think we're getting away from the spirit of the original post.
Welcome to my world.
Q: How many kids with ADD does it take to change a light bulb?
A: Wanna go ride bikes?
But my original post is actually GOOD!!!
"10 best/most interesting cues of the last 10 years in no particular order."
I think I’ll pass on this. That’s what I said about the previous challenge… but seriously, I don’t want to. The most obvious reason is that I don’t want to be forced into an explanation for why I omitted certain cues in favo(u)r of certain others. One way or the other, it will put me on the spot.
Besides, you say “best/most interesting,” which is about as broad as you can possibly get. The best, as in the most concert-worthy? Interesting by what criteria? “Interesting,” in my experience, is the most frustratingly overused/ambiguous adjective used for music ever. After a recital, someone says “that was interesting” to conceal whatever they actually want to say—covering the entire spectrum of actual reactions. In the words of Lewis Black… “Why the fuck open your mouth?”
However, those assholes are not your fault. Given that the last “top ten” list was about personal favorites, with no regard for defending their actual artistic quality, I will assume this is more a question of… well… which cues are the most interesting. That is, which cues capture your ear from start to finish, and, through structural design and device, leave you aurally satisfied… or perhaps unsatisfied, being so interested that you crave more. Most unpredictable? Most intricate? Most well-developed? Screw it. “Interesting” could mean anything, and the reason I hate this sort of thing is because I don’t like being in a room full of people who are reading too much into what you say, and because I’m a paranoid, combative son of a bitch.
Finally, if it’s the last 10 years, I’m too lazy to keep track of the starting point.
Instead, I will be a douche and waste your time reading all that.
…hmmmm…
Inevitably, I will cave at some point. The seed has been planted. Hence the “you bastard”… so I might as well throw caution to the wind and just do this off the top of my head:
“Toccata and Dreamscapes” - Final Fantasy: The Spirits Within I don’t see the blues piano influence, and I think I should add that there is about a cup and a half of John Corigliano in there as well.
“The Hand of Fate, Part I/II” - Signs Just because I don’t want the headache of adding opening/end credits to the possibilities.
“Lighting of the Beacons” - The Return of the King You said it. This is one of the moments where the theater audience was swept off their feet—er, butts. Anyway, this scene elicited raucous applause at the premiere.
“Trinity Definitely” - The Matrix Hey, this isn’t so hard after all.
“Journey to the Line” - The Thin Red Line Desperation and lamentation soar to new heights in this reverent masterpiece. It was also blatantly and disgracefully ripped off for the incoherent shit-fest that is Magnolia.
“The Jablonsky Variations” - Tears of the Sun In three seamless sections. So much is going on, and it never, never, never gets old. The music is really too big for the movie screen.
“Saving Buckbeak” - The Prisoner of Azkaban Sort of an unsung hero among the cues of this, the finest Harry Potter score to date. Completely unexpected in the context of the rest of the franchise, though perfectly capturing the gloomy yet magical atmosphere. A little minimalism never hurt anybody.
“Duel of the Fates” - The Phantom Menace Technically, this isn’t one cue, because it is spliced into different scenes in the film, but then so is Toccata and Dreamscapes and Saving Buckbeak. This music brilliantly launches a new trilogy with all the exhilaration and fantastic scope you would want for the Jedi vs. Sith mythology. Indeed, it has a timeless quality, insinuating millennia of epic conflicts that are resolved with the flash of red and blue and green. It rivals even the greatest of opera’s choral numbers.
“Prelude to War” - Battlestar Galactica, Season 2 I know, this isn’t a film score cue, but I had to bend the rules to include it. For eight and a half minutes, Primitivism humps the leg of Neo-Classicism in this frenetic, invigorating piece, citing leitmotifs with the same streamlined cohesiveness as John Williams’ Rescue from Cloud City/Hyperspace. The piece never loses steam; it just keeps on going forward, maintaining my interest and excitement the whole way through. And then I want to listen to it again. “So say we all.”
“Title Here” - Title Here I’ll just leave this open as a wild card. I don’t know, maybe something Jerry Goldsmith, since he’s embarrassingly absent from my list.
There.
Just to put your mind at ease, by interesting I meant the broadest possible definition suited to your own tastes and ears.
Themes aren't bending the rules. They're still cues. Works for me.
An interesting point about the "Jablonsky Variations". Really it's about the only saving grace of the score.
As one of the few quiet and honest-to-dog melodic moments in the entire series I find "Trinity Definitely" an interesting choice.
Aaaaaaand I just listened to "Prelude to War". It certainly is exciting. You're absolutely right, too. Captures your attention and never lets go.
First of all, when the hell did you get the music to BSG?
Second, Trinity Definitely was a Freudian slip; I meant to do the same cue as you.
Third, disregard my entire list. If you meant "personal" interest, then we've already done this list thing.
I've actually had BSG for some time. I dubbed Michael Harris' copies some time over the summer before he left for Boulder.
You're right about Toccata and Dreamscapes. While I will give you the cup-and-a-half of Corigliano, the Penderecki/Polish Avant-garde is more predominant. There isn't much of his blues background evident in this particular score but it's pretty conspicuous in just about every other thing he's written I think.
We actually haven't done this list because the parameters are much more difficult. If it makes you feel better I will reset the parameters so that it's 10 most "compositionally interesting".
Happy now? Are you going to sleep better? Do you have a dorsal fin?!?!
It's all sunshine and kitten farts over here.
Where is everyone?
The Pikey is working on his list. He's a slacker.
Also, I need to amend the following:
I'm replacing "Lost in the Wild" from The Edge with:
"The Horns of Hell" - The 13th Warrior (1999). Still Jerry Goldsmith. A cue built from a single idea that gradually increases in intensity, is completely relentless, and never loses interest. Awesome.
How careless of me to overlook it.
Hmmm... that's a good one...
Well, if I intend to spend that open tenth slot on Jerry Goldsmith, then I am essentially burdened to choose the "single greatest" Jerry Goldsmith cue.
Screw THAT.
Hey, just to be a dick:
What about the Top Five Film Scores (since 1970)? Considering the overall growth of the score, which ones are the most compositionally interesting, well-crafted, and satisfying works? That is, which scores have the best material, technique, AND sense of "completion" to them?
I was nice, though, and gave you an out for all the early goodies.
Hmmmm... if I pose the question, I must answer it...
I'm still pondering this one. Immediately I can think of a few that might furrow your brow.
And yes, since you proposed it, you have to answer it.
Well, if you're still pondering, it means you're putting way too much thought into it, whereas I have actually forgotten all about it. That being the case, your list will inevitably have far too much analysis behind it for me to want to present at the same level. Nah, I like to just blurt stuff out. That's how I roll.
Fine. Off the top of my head then:
Patton (Jerry Goldsmith, 1970)
The Empire Strikes Back (John Williams, 1980)
Total Recall(Jerry Goldsmith, 1990)
The Lord of the Rings (Howard Shore, 2001-2003)
The Matrix (Don Davis, 1999)
There you go. No rationale.
Game on.
Son of a bitch, that's about what my list was going to be anyway. I chose "1970" because I figured that would allow Patton to go on the list, even though I am mostly unfamiliar with it.
Good list.
Thanks.
Other Notables:
The Wind and the Lion (Jerry Goldsmith, 1975)
Signs (James Newton Howard, 2002)
Titus (Elliot Goldenthal, 1999)
The Taking of Pelham One-Two-Three (David Shire, 1974)
The Omen (Jerry Goldsmith, 1976)
Final Fantasy: The Spirits Within (Elliot Goldenthal, 2001)
The 13th Warrior (Jerry Goldsmith, 1999)
Raiders of the Lost Ark (John Williams, 1981)
I could go on, you know.
Yeah, instead of Patton, I was thinking maybe Signs or The Spirits Within. I really need to give The Omen and The 13th Warrior another listen. Maybe it's high time for a Goldsmith marathon in my world of listening... yesss...
Perhaps you should rotate out all of your Artists Formerly Known as Media Ventures Types (and Final Fantasy and Battlestar) and rotate in an all-Goldsmith set. Speaking from experience it's quite entertaining to drive around blaring The Omen from your car with the windows down.
Dude. One time, Julio and I were in Aaron's car at the Taco Bell drive through...
The plan was for us all to have deadpan serious faces, and Aaron alone would do the talking at the window, in a very low voice.
It was very hard to maintain composure when that music was blaring so that the people inside Taco Bell could hear it.
You assume too much. I haven't been listening to Final Fantasy, and I only recently phased in Battlestar Galactica. Lately, I've been listening to a lot of the Halo scores and Harry Potter (because I'm reading the books, it helps immerse me in the mood of that world). And I just phased in The Fellowship of the Ring Saturday night. So there.
The only thing I hate more than when someone assumes what CDs are in my car is when they're right. In this case, you weren't quite there.
Close, though.
You do me an injustice.
I do not bite my thumb at you.
i will eventually post here too, or will i?
I think you should.
"Already I can see the chain reaction: the chemical precursors that signal the onset of an emotion, designed specifically to overwhelm logic and reason. An emotion that is already blinding you to the simple and obvious truth: You are going to post."
i did it.
http://web.mac.com/reimerpdx/The_Transition/Words/Words.html
actually that address wasn't right, go to this one instead:
http://web.mac.com/reimerpdx/The_Transition/Words/Words.html
okay that's bullshit. let's try one more time:
click here maybe?
Nice list Reed, two things:
1: Is the Seaship blog officially dead?
2: I'm not sure that the Edward Scissorhands (awsome that it may be) cue counts as it's SO far removed from the 10-year time frame. But what the hell, it's your list, you can do what you want really!
Oh, and Brad I've got my list and I'm starting my own post with it - I apparently just don't have a much time as you. Hopefully I'll get it done tonight sometime during that whole job thing! :P
Wait, you guys actually do work at your jobs? That must suck...
I keeeeed, I keeeeed.
I didn't get to do this on Tim's blog but, like a tiger playing a banjo, I'm pouncing on the word "awsome". I believe you meant "awesome" which, incidentally, has the same number of letters as "asshole" which is what I'm being right this moment.
Wait...
That's all the time.
i suppose you could substitute one of my "honorable mentions' for Elfman's cue. the cue i would choose would be Poledouris's piece from Starship Troopers.
sorry, sometimes its hard to follow the rules...you bastard.
and i would definately consider seaship.blogspot dead. i only save it as a bridge for those who haven't RSS'd the new blog.
pikey - what do you mean you don't understand the RSS thing? you have your page set up for RSS feed.
basically when a page has RSS you can bookmard the RSS feed page and then in your bookmarks it will show a number for every new post. most online news agencies do this and most technical, etc...sites do as well.
Herr - i think you can activate your RSS feed in you blogger "settings" panel, but it has been so long since i did, i can't really remember.
Sorry about the "chapped" part. I thought those were moans of pleasure. Next time, don't forget the safety word!
Yeah, umm...it sort of must have done the whole RSS thing on it's own because I don't have the first fuck-all of a clue what it is.
The safety word is: brussel sprouts
Well, if we're going for the cues that are the most sublime on a personal level, most "meaningful" or whatever, then disregard my entire list. I can do another.
On a mostly unrelated note, here's an honorable mention that I had long forgotten and recently rediscovered for its hardcore goodness: Hard to Starboard from Titanic. Say what you will about James Horner (and I'm sure you will), but this cue is awesome. It's one of my favorite Horner cues ever, and I love how over-the-top it is. CLANG CLANG, I love it. It falls into the "holy-shit-we're-all-gonna-die" category.
I guess I'm just in a Titanic mood since watching the fourth season finale of News Radio, which was a parody (it came out around the same time as the movie). I haven't seen it in yeeeeaaars, but I might actually end up watching it tomorrow night. Definitely one of Horner's best scores.
"Hard to Starboard" is one of my favorites, too.
CLANG, CLANG!
"I am a leaf on the wind, I am a leaf on the wind"
"Oh god, oh god, we're all gonna die?!"
You've fallen in to my trap. You think you've called my bluff but really all you've done is help pad the comments on this post.
"It was all too easy."
You'd like to think that, wouldn't you? You've beaten my giant, which means you're exceptionally strong, so you could've put the poison in your own goblet, trusting on your strength to save you, so I can clearly not choose the wine in front of you. But, you've also bested my Spaniard, which means you must have studied, and in studying you must have learned that man is mortal, so you would have put the poison as far from yourself as possible, so I can clearly not choose the wine in front of me.
You're trying to trick me into giving away something. It won't work.
Post a Comment