Ford A. Thaxton

Basil Poledouris on Scoring Crocodile Dundee

CROCODILE DUNDEE IN L.A. reunited composer Basil Poledouris with director Simon Wincer, for whom Poledouris wrote one of his most profound and eloquent scores, 1988’s LONESOME DOVE. The director and composer collaborated on another Western, the Tom Selleck vehicle, QUIGLEY DOWN UNDER, as well as HARLEY DAVIDSON AND THE MARLBORO MAN and FREE WILLY. The…

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Craig Armstrong on Scoring Moulin Rouge

While he has been actively involved in music since the 1970s, it’s only been since his involvement in Baz Luhrmann’s ROMEO + JULIET in 1996 that Scottish composer Craig Armstrong entered the world of film music, and soon began to gain a degree of personal notoriety as a composer. His atmospheric orchestral music for THE…

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Danny Elfman Revisits the Planet of the Apes

Danny Elfman’s long-running collaboration with director Tim Burton continues with the director’s stylistic take on PLANET OF THE APES, which opened late July. A consistent percussive rhythm holds much of Elfman’s tempestuous score together, with bursts of horns and winds heightening the fast tempo. Elfman’s action music is terrifically dissonant, but without ranging out of…

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David Arnold on Zoolander and The Musketeer

David Arnold’s latest score, for the Ben Stiller comedy ZOOLANDER, may seem to be a departure from the composer of TOMORROW NEVER DIES, INDEPENDENCE DAY, GODZILLA (well, O.K., maybe not so much with GODZILLA!), but the composer, eager to shed his big-budget-spectacular-action-film image, enjoyed the very different challenges of scoring this comedy. Okay, you’ve done…

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David Newman on Scoring Galaxy Quest

One of the season’s most entertaining films – and one that may hold a special place for STAR TREK fans – is GALAXY QUEST. This lavish story about the cast of a fictional science fiction TV series, a la STAR TREK, who are mistaken for real space heroes by a group of aliens seeking help…

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Don Davis on House on Haunted Hil

If there’s one constant about the motion picture industry, is that trends will beget trends. One of this Winter’s movie season trends is the return of the haunted house, with lavish, big-budget remakes of one of the most respected haunted house films of yesteryear, Robert Wise’s THE HAUNTING, and of one of the most beloved…

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Elia Cmiral’s Battlefield Earth

Born in Czechoslovakia, Elia Cmiral (pronounced smear-al) escaped his country’s political upheaval and moved to Sweden in 1980, where he began to build a career in music. In 1987 he moved to the USA and enrolled in the film-scoring program at USG, studying with Buddy Bakers and others. This led to the opportunity to score…

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Elliot Goldenthal’s Final Fantasy

FINAL FANTASY is the latest in a string of polished, fantasy-oriented film scores from Elliot Goldenthal, whose work graced such efforts as BATMAN FOR EVER, BATMAN AND ROBIN, ALLEN 3, INTERVIEW WITH A VAMPIRE, SPHERE, and last year’s astoundingly remarkable TITUS. Classically rendered yet given a forceful dissonance expected in today’s larger-than-life fantasy epics, the…

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Gerald Fried on Stanley Kubrick

Gerald Fried’s career as a composer for film and television spans five decades, in the 1950s and ‘60s he was well known for his inventive scores for a variety low to medium budget films such as MARK OF THE VAMPIRE, THE RETURN OF DRACULA, and TERROR IN A TEXAS TOWN. In the ‘60s he become…

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