I’m a whistler, and a dreamer… and “Binary Sunset” is one of my favorite thoughtful, hopeful and slightly sad things to whistle, especially when I’m thinking about my future, and watching the horizon.
I do it all the time, and I carry a huge repertoire in my mind, and on my ipod.
In the case of my whistling, film scores tend to be my default setting.
Since I was a child, they have been playing in my head. In point of fact, before I even owned my first LP or cassette tape I can remember playing in my school’s playground on a weekend. I had brought some of my Star Wars figures, and I can remember being on the edge of the merry-go-round playing with them, whistling a never-ending medley of themes and cues from a film I had only seen once at that point, whistling over and over music by a composer whose name I didn’t even now yet, believe Mr. Willilams (can I call you John?) I have more than made up for that slip.
When the 1980s rolled around and I got my first walkman as a birthday present (I think it was my birthday, it may have been for Easter). One of the very first cassettes I bought to go with it was the score from Return of the Jedi.
I wore that tape out.
I would listen to it over and over, I knew every moment of that score.
I also played my soundtrack LPs repeatedly as well, I introduced myself to John Barry through his fantastic score for The Black Hole, and James Horner through his stirring compositions for Star Trek II: The Wrath of Khan (and I would wear out my Patriot Games, Clear and Present Danger and Braveheart soundtracks.
But cassette tapes were my passion, before I had my own CD player, I had tons of them. Anytime my meager allowance came along, or babysitting money, or my small income from working as a stock boy at the CanEx I would find yet another soundtrack or score to add to it (or a pop tape, but more often a soundtrack).
It was during this accumulation of tapes that I discovered the wonderful compositions of Jerry Goldsmith. My favorite scores of his continue to be the soundtrack for Star Trek: The Motion Picture and Alien. Both of these soundtracks just keep circling in my head.
I’m well aware that he has composed so many more other scores, and I even have some of them, but his work for sci-fi films seem to resonate the most with me.
John Williams of course, seems to have scored my entire life, and I think I actually have most of his collaborations with Steven Spielberg, and none of them disappoint.
For me, one of the highlights of knowing that there were new Star Wars movies coming out, when the rumors of prequels started, was that no matter what the films were like, there would be three new soundtracks filled with music from the Star Wars universe by the man who wrote the original music (specific tracks are Duel of the Fates, Battle of the Heroes, and the Main Titles & Revenge of the Sith – Williams is the man!).
That is saying nothing about the impact he had on me with the Raiders March, the piano end titles of E.T., the music cues mentioned in my Raiders of the Lost Ark post, the theme from Jurassic Park, any cue from Jaws, the ebullient tones from Close Encounters, Hedwig’s theme, the violin work in Schindler’s List…
It goes on and on…
I was also lucky to discover Alan Silvestri, who turned in fantastic work for the films of Robert Zemeckis including Romancing the Stone, all three Back to the Futures and of course, the amazing score for Contact.
I especially love the cue/track, “Good to go.”
I have always loved films scores, and composers who use a full orchestra. It can give you huge sweeping moments, stirring strings, and then quiet tiny cues that can break your heart.
Howard Shore’s work on the Lord of the Rings films are great examples of that. He composes music that serves the film, and never over powers it, it simply enhances the viewing experience, and I do like when my brain just randomly cues one of those tracks in my head to whistle.
I can’t wait to see what he does with the Hobbit!
There are some composers who use a combination of synthetic and orchestral sounds, Hans Zimmer (whose score on Gladiator is his best in my opinion), Daft Punk’s score for Tron Legacy, the Chemical Brothers use of tones and electronica for Hanna.
But for me a score stands on whether I whistle it or not, and Silvestri, Williams, Barry and Goldsmith are for me, the titans in composing circles.
I have one more name to add to that list, and this compose seems to be the hardest working composer in film today. Or at least he seems to be, his name seems to pop up everywhere.
He’s everywhere, and he doesn’t keep his work merely on the big screen, he’s scored videogames, as well as TV series, most notably Fringe, Alcatraz, and Lost. He has a healthy working relationship with J.J. Abrams, and scores his films, amazingly I might add.
His standout scores for me currently, are his turns on The Incredibles, filled with homages to superhero films as well as a bit of an old school James Bond feel, and my favorite, his highly whistle-able score for Star Trek.
His brassy, up-tempo score for Trek simply sunk into my subconscious, even more than I realized. I had seen the film once, and purchased the soundtrack, loading it onto my ipod, and by the second time I saw the film in the theater, I was stunned to find myself whistling themes and cues from the soundtrack already.
I am constantly delighted now when I read a film’s credits, or am watching the opening or closing titles and see Michael’s name pop up. I always know I’m in good hands.
I know I don’t know as much about writing or composing music to talk tech about it, but I know what I like, and I am quite happy to welcome Mr. Giacchino into the ranks of Williams, Goldsmith, Barry, Silvestri, Horner and Shore. I can’t think of a higher compliment to pay than my continued whistling, so that’s what I’ll do…