The Walk of Life Project. Hypothesis: "Walk of Life" by Dire Straits is the perfect song to end any movie. (via Paleofuture)
Much like Steven Spielberg and his longtime collaboration with John Williams, it’s incredibly difficult to imagine a Coen Brothers film without the indispensable work of Carter Burwell: [more inside]
Too many films are blighted by lacklustre music - Ennio Morricone Ennio Morricone, 88, asserts that contemporary soundtracks are ruined by "amateur" composers and "synthesized" sounds. Is this just attention-grabbing comments for his upcoming tour, old-school vs. new wave, grumpy curmudgeon on the porch ranting? Or does the OST for Mad Max: Fury Road suck? [more inside]
Though it became an epic flop and forced Francis Ford Coppola to declare bankruptcy, the 1982 musical One From the Heart (previously) did produce one hell of a soundtrack featuring the unlikely collaboration between Tom Waits and Crystal Gayle. Here's the story of how it all came together. [more inside]
What you see here is a prime example of what happens to film that is neglected and improperly stored. This is an original reel from It's a Mad, Mad, Mad, Mad World that is now untouchable. The film has turned acidic, sporting the strongest and most foul vinegar-like odor I have ever smelled. In fact, Robert Harris told me a story of how his contact lenses were singed by the fumes the film produced, causing temporary retinal damage to his eye. [more inside]
Does the success of Trent Reznor, Clint Mansell and others suggest an end to the dominance of the traditional orchestral soundtrack?
John Williams turned 80 today! The American composer is best known for the themes from Star Wars, Jaws, Close Encounters of the Third Kind, and Indiana Jones, but starting with the score adaptation for Valley of the Dolls, he's racked up 47 Oscar nominations in a 44-year span, including 5 wins. [more inside]
The annotated scores for [*and Filmtracks.com's reviews of] Howard Shore's soundtracks to The Fellowship of the Ring*, The Two Towers*, and The Return of the King*
The Soundworks Collection gives a behind-the-scenes look into the work of talented sound teams working on feature films, soundtrack scoring, and video games with a compilation of exclusive interviews, awards shows / event panel coverage and sound stage / studio room videos. Vimeo Channel. YouTube Channel. [more inside]
The Art of Memory - minimal film music art
Often dismissed as a failed experiment, this oddity from Arthur Penn is a constantly surprising and enigmatic classic. Two years ahead of Bonnie and Clyde, this New Hollywood prototype is ragged and frantic, a skewed but thrilling attempt to rewrite established narrative form. [more inside]
Jerry Fielding (1922-1980) was one of cinema's most distinctive voices in the 1960s and especially '70s, the perfect musical complement to the films of Sam Peckinpah*, Michael Winner, Clint Eastwood and others. His scores are marked by modernism and intricate orchestrations but also a poetic beauty and intensity—an appropriate accompaniment to the decade's strange and often sad (but never sentimental) criminals and antiheroes, be they in westerns (The Wild Bunch) or crime films. He was, however, capable of numerous styles (he was a former Vegas bandleader), and wrote a great number of scores (from sticoms to dramas to sci-fi) for television. - Film Score Monthly [more inside]
One Hundred Years, One Hundred Scores. The Hollywood Reporter and a jury of film music experts select the 100 greatest film scores of all time. One of the jury is Dan Goldwasser, editor of Soundtrack.net, which publishers interviews with composers, reviews of soundtracks and keeps a valuable list of trailer music - for when a new trailer uses old film music and you can't quite remember where it's from. [more inside]
Pink Floyd and the Wizard of Oz? "Toto, I don't think we're in Kansas anymore." While no one involved with Pink Floyd has ever admitted to any link between the band's seminal 1973 album "Dark Side of the Moon" and the 1939 film "The Wizard of Oz," urban legend purports that the album was conceived as an alternate soundtrack to the film.