Any decade has its own great film music scores: In the 60s such scores as Psycho, The Magnificent Seven or Planet of the Apes were groundbreaking pieces of music; in the 70s Star Wars brought back the big symphonic style of Hollywood´s Golden Age and Chinatown showed us, that a great composer can write a phenomenal score within ten days (!); in the 80s we enjoyed the music of E.T., the score for Poltergeist made our´s flesh creep and Ennio Morricone wrote one of his strongest soundtracks for The Mission; and in the 90s we had Basic Instinct, Schindler´s List, Dances with Wolves and more great film music by a new generation of film composers. In the 2000s, Howard Shore elated us with his music for the trilogy of The Lord of the Rings – three of the biggest scores in the new millennium. nike air max goedkoop But that wasn´t all: more fascinating scores of the 2000s were written for the cinematic year of 2005. Syriana (by Alexandre Desplat), Charlie and the Chocolate Factory (by Danny Elfman), Kingdom of Heaven (by Harry Gregson-Williams), Flight Plan and The New World (by James Horner) and three scores by John Williams (Star Wars – Episode 3: Revenge of the Sith, Munich and Memoirs of the Geisha). In 2005, Alexandre Desplat was in some way a newcomer in the film music business in Hollywood, had composed the very effective and beautiful score for The Girl with the Pearl Earring and the emotional music for Birth (a film with Nicole Kidman) the years before. For Syriana, a widely-praised geopolitical thriller film directed by Stephen Gaghan, the french composer wrote an intelligent, in places dark score bringing together middle eastern sounds, modern pop music elements and a small orchestra, which the musician expanded with an electric guitar and some strange sounding percussion instruments. adidas 2017 pas cher The result brought Desplat a Golden Globe nomination for Best Original Score. Another musical winner of the year was Danny Elfman´s Charlie and the Chocolate Factory. Tim Burton directed the fantasy film, which was an adaptation of the 1964 British book of the same name written by Roald Dahl. Johnny Depp played Willy Wonka and Freddie Highmore took the part of Charlie Bucket. Elfman and Burton teamed up again, after a lot of collaborations in the past on such film projects as Beetlejuice (1988), Edward Scissorhands (1990), Batman (1989) and Sleepy Hollow (1999) – just to name a few. The composer wrote a beautiful waltz for Willy Wonka, a upbeat theme for full orchestra, which characterizes the factory and a great family theme for Charlie and his family. Elfman also produced four songs for the film experimenting with synthesizer samples to get perfect chanting voices for the score.
Elfman at his best! Kingdom of Heaven is an epic historical drama film about the french village blacksmith, which goes to aid the Kingdom of Jerusalem in its defence against the Ayyubid Muslim sultan Saladin during the Crusades of the 12th century. The script is more a fictionalised portrayal than a lesson in history. Harry Gregson-Williams did a great job in composing music for the project, but director Ridley Scott is famous for his use of temp-music in his motion pictures, so he took some pieces of preexisting scores to underline his visuals (Jerry Goldsmith´s The 13th Warrior and a cue from Hannibal, composed by Patrick Cassidy and Hans Zimmer were used in the final cut of the movie).
However, Harry Gregson-Williams medieval, middle-eastern but also modern music works very well in the film and is one of the best scores of 2005. The year was also a very strong one for James Horner, who composed music for Flight Plan, a German-American thriller film directed by Robert Schwentke and with Jodie Foster in the leading role. Foster played a U.S. aircraft engineer, who travels with her daughter from Berlin back in the U.S. after her husband has died. During the flight, her daughter disappeared. The film is an exciting trip and James Horner´s excellent thriller score perfectly underlines this mother´s search for her daughter. Horner shows his mastery in mixing his own score with the film´s sound effects in a very special way. His orchestra picks up the whole panic of Jodie Foster´s character and translates it into music. Orlando Magic The composer also used unusual instruments for a film like this: several Gamelan instruments (percussive instruments that you can find, for example, in the Indonesian culture) and a prepared piano. fjallraven kanken cheap His use of the strings brings this special feeling of panic into the score. At the end, Horner´s Flight Plan is one of his most busiest and excellent works in the thriller genre. Even more fascinating was his work for The New World in 2005, a romantic historical drama about Pocahontas and colonist Captain John Smith. Horner´s score is a masterpiece, but director Terence Malick´s massive editing and re-editing were two reasons that some parts of the score were rejected or thrown out of the film completely. For the final version of The New World, the director even used the prelude to Wagner´s Rheingold and Mozart´s Piano Concerto No. 23, so that the process of composing music for the film might have been very frustrating for James Horner. The musician wrote and rewrote his sketches, worked several months on the score, only to see that the director thrown out a lot of it. However, Horner´s music is one of his very best scores. A truly masterpiece of film scoring and absolutely one of 2005´s very best compositions for the big screen. Nike Air Max 1 męskie człrwone In addition to this five extraordinary film soundtracks, John Williams wrote three of the year´s best ones: his music for Star Wars – Episode 3: Revenge of the Sith was his contribution to the conclusion of the second trilogy of the franchise. The London Symphony Orchestra and the London Voices performed the score and the central piece ´Battle of the Heroes´, a great action set-piece showing how good Williams is in combining orchestra with choir in dramatic context.
The film´s climax is underlined by an triumphant but doom-laden atmosphere – one of the saga´s most fascinating musical moments. For Steven Spielberg´s political thriller Munich, the composer went a different direction, composing one of his most tragic scores of 2005. The film tells the story of the revenge mission carried out by the Israelis after Israeli athletes were kidnapped and murdered at the 1972 Olympic Games in Munich. John Williams opens his score with an aria: Lisbeth Scott hauntingly performed Williams´ cues ´Munich, 1972´ and ´Remembering Munich´, two of the centre pieces of the score. The album was nomanted not only for an Academy Award for Best Original Score, but also for a Grammy Award. It lost at the Grammys to the composer´s own score for Memoirs of a Geisha, which is Williams´ best contribution to film in 2005 and for many people the best score of the year.