• Music from ‘The Hitcher’ (1986) ‘Headlights - Main Title’ (Mark Isham)

    #1980s  
    #1986  
    #film  
    #music  

  • 2 years ago
  • oldhollywood:

    Brian Easdale - Ballet from “The Red Shoes”: V. Largo

    Performed by the BBC National Orchestra of Wales w/ Cynthia Millar on Ondes Martenot

    [The Red Shoes score’s] innovative departure was secured by effective use of the Ondes Martenot, an instrument invented in 1928.

    This strange electronic keyboard instrument produced a shimmering and eerie glissando and was used in the dream and nightmare sequences of the ballet, imparting a magical and enchanted atmosphere that matched and enhanced Hein Heckroth’s inspired sets.” 

    -excerpted from Mark Connelly’s The Red Shoes

    #music  
    #ballet  
    #1940s  
    #film  

  • 2 years ago
  • Will the Music of ‘Rise of the Planet of the Apes’ Live Up to Its ‘Apes’ Predecessors?
If you’re a fan of the 1968 film “Planet of the Apes,”  then you remember the haunting music. You may have even gotten chills  when you first heard the strange percussive sounds accompanying the  humans’ flight from their gorilla hunters. Jerry Goldsmith’s score for  the 1968 “Apes” is listed at number 18 in the American Film Institute’s Top 25 Film Scores. Will the music for “Rise of the Planet of the Apes"  match the originality of Goldsmith’s 1968 score or any of the scores in  the series? Patrick Doyle, an Academy Award-nominated composer, is at  the musical helm of "Rise." Doyle will be the fifth composer scoring a  movie in the "Planet of the Apes" saga. Read More

    Will the Music of ‘Rise of the Planet of the Apes’ Live Up to Its ‘Apes’ Predecessors?

    If you’re a fan of the 1968 film “Planet of the Apes,” then you remember the haunting music. You may have even gotten chills when you first heard the strange percussive sounds accompanying the humans’ flight from their gorilla hunters. Jerry Goldsmith’s score for the 1968 “Apes” is listed at number 18 in the American Film Institute’s Top 25 Film Scores. Will the music for “Rise of the Planet of the Apes" match the originality of Goldsmith’s 1968 score or any of the scores in the series? Patrick Doyle, an Academy Award-nominated composer, is at the musical helm of "Rise." Doyle will be the fifth composer scoring a movie in the "Planet of the Apes" saga. Read More

    #Music  
    #Film  
    #Apes  
    #Rise  
    #2011  
    #sci-fi  
    #movies  

  • 2 years ago
  • joncs:

    The Chemical Brothers - container park

    just listening to this makes me feel badass

    #Hanna  
    #music  
    #2011  
    #movie  
    #film  

  • 3 years ago
  • oldhollywood:

    Miles Davis - Generique (via Elevator to the Gallows/Ascenseur Pour l’Échafaud: Original Motion Picture Soundtrack)

    “I met the French filmmaker Louis Malle through Juliette Greco. He told me he had always loved my music and that he wanted me to write the musical score for his new film, Elevator to the Gallows. I agreed to do it and it was a great learning experience, because I had never written a music score for a film before.

    I would look at the rushes of the film and get musical ideas to write down. Since it was about a murder and was supposed to be a suspense movie, I used this old, very gloomy, dark building where I had the musicians play. I thought it would give the music atmosphere, and it did. Everyone loved what I did with the music on that film.”

    -Miles Davis, excerpted from Miles, the autobiography

    #film  
    #song  
    #jazz  
    #French  
    #quote  
    #movies  
    #music  

  • 3 years ago
  • oldhollywood:

    Bernard Herrmann - The Elevator/Magnetic Pull /Study/Conference /The Jewelry Store

    (via The Day The Earth Stood Still: 20th Century Fox Film Scores)

    “[Herrmann’s score for the sci-fi classic The Day The Earth Stood Still] was another scoring milestone that anticipated the era of electronic music with its then unheard of instrumentation for electric violin, electric bass, two high and low electric theremins, four pianos, four harps and a ‘very strange section of about 30-odd brass.’…What the film needed was an extraterrestrial strangeness, a sense of the bizarre and unsettling; this Herrmann achieved through his wisely sparse electronic soundtrack.

    If the music’s impact is lessened today, the reason is not the score itself but the host of inferior imitations its success spawned.”

    -excerpted from A Heart at Fire’s Center: The Life and Music of Bernard Herrmann by Steven Smith

    #sci-fi  
    #1950s  
    #film  
    #1951  
    #music  

  • 3 years ago
  • oldhollywood:

    François De Roubaix - Les Dunes D’Ostendea good example of Roubaix’s pioneering use of breakbeats & synthesizers.

    (via Les Levres Rouges: Original Motion Picture Soundtrack)

    #vampire  
    #1970s  
    #music  
    #1971  

  • 3 years ago
  • oldhollywood:

    GoldfingerShirley Bassey (vocals) Composed by John Barry for Goldfinger (1964)

    “I went and stayed with John Barry for a couple of weeks [while my new home was under construction]. By then he was a top movie composer. He had made a big score for Zulu and was booked to write the music for The Ipcress File, which he did, magnificently.

    During my stay, he was writing the music for a James Bond movie. I hadn’t realized that there was such a big drawback to staying with a composer: they compose all day and in John’s case, all night. You wind up with no voice from shouting above the music. John could work twenty-four hours at a stretch, and as he would not accept rent, I took on the role of a helpful gofer to his driven genius. I made tea and sandwiches, did the tidying up, and ran errands as he slaved away at the piano. One night I got no sleep at all, as over and over again for hours on end right until dawn he worked on the same tune.

    I slept for short periods, but would wake up when the music stopped. I had gotten so used to it that the silence bothered me. I decided to get up and make coffee for John. I entered the room and found him slumped exhausted over the piano. He had obviously finally finished the one tune that he had been slaving on all night. I made him some coffee and he played it for me as the sun came up and warmed the room. Not only was I the first person to hear this tune, I heard it and heard it all night long. 

    ‘What’s it called?’ I asked him when he finished playing. ‘It’s Goldfinger’ he replied - and fell fast asleep on the piano.

    Shortly after that my house in Albion Chase was ready and I moved into my own home for the first time. A unique joy. That night I fell asleep in my strange new surroundings humming Goldfinger to make myself feel at home.” 

     -Michael Caine, in his autobiography What’s It All About? 

    #1964  
    #1960s  
    #quote  
    #RIP  

  • 3 years ago
  • oldhollywood:

    John Barry - Meeting with Grantby & Fight (via The Ipcress File: Original Soundtrack Album)

    Q. It’s a much more low-key score and film [as compared to Barry’s scores for James Bond films]

    John Barry: Absolutely. Even the fight scenes. All the Bond scenes were all loud noises. But in The Ipcress File, [director] Sidney Furie did this lovely fight scene outside of Albert Hall, where they’re in the distance, on the top of the steps, and I have that arpeggio music going against it, and it was wonderful.

    Because you saw these two stupid men. It made you realize how stupid physical violence is. It had such a different effect, and I think a very penetrating effect, from what violence in the movies is all about.

    -excerpted from Overtones and undertones: Reading Film Music

    #music  
    #1960s  

  • 3 years ago
  • oldhollywood:

    Main Title / Harry’s False Funeral - composed by Anton Karas/ performed by Gertrud Herber (via The Third Man Motion Picture Soundtrack - 2003 Re-recording)

    #music  

  • 3 years ago