2003 – a historic year in film music history. Film music giant Jerry Goldsmith worked again with director Richard Donner on the project Timeline, a science fiction adventure film based on the novel by Michael Crichton. It stars Paul Walker, Frances O´Connor and Gerard Butler.
The last time, both director and composer worked together, was in the mid-70s on the film The Omen (1976). Maglie Los Angeles Clippers For his score for the horror-milestone, Goldsmith won an Academy Award for Best Original Score in 1977. For Timline, years later, Jerry Goldsmith composed the original score, but it was replaced with a new score by composer Brian Tyler. The reason: the first cut of the movie was re-edited and Goldsmith couldn´t came back on the project.
At the end, the film Timeline wasn´t a very exciting experience and a box office failure. Brian Tyler´s score did a good job within the movie, but Goldsmith´s music for the project was a majestic and thunderous score with memorable themes, motifs and great action cues. It was surley the best component on the film, although it was never used in the final cut. However, the label Varese Sarabande released Jerry Goldsmith penultimate score for Richard Donner´s motion picture in 2004 – a little belated, but absolutely necessary. Goldsmith´s Timeline is a score full of intelligent film music writing, full of musical highlights, a powerful score for big orchestra with a lot of percussion and exciting electronic effects. The cue ´Victory for Us´ is the best example of the score, which again shows the composer´s mastery in the field of film scoring.
The second score of 2003 composed by Goldsmith, was his soundtrack for Joe Dante´s adventure comedy film Looney Tunes: Back in Action, a crazy new entry in a film genre that combines live action with animated characters. Looney Tunes premiered on November 9, 2003 and was like Timeline a disaster at the box office, never reached the quality of Robert Zemeckis´ trip to the genre with his great Who Framed Roger Rabbit in 1988. Jerry Goldsmith´s music for the movie was a little treasure, with lots of great stuff and some quotes of comedy film music themes of the past. nike pas cher He even used his Gremlins rag for one scene in the film. The score is pure fun! Some called it ´´his busiest and most energetic score since The Mummy in 1999´´ – of course, totally different in style. The cues ´The Bad Guys´ and ´Car Trouble` have the most striking moments of the score. Especially ´Car Trouble´ is pure energy and reminds us of Goldsmith´s Western scores of the 1970s. Sadly, the composer´s health kept him from finishing the score and composer John Debney had to step in and compose additional music for Dante´s comedy.
Jerry Goldsmith´s final score may be incomplete, but is still one of his little masterpieces of his later years. A treasure: pure fun, thunderous, energetic and tuneful. Great!
2003 was also the year of action scores composed by Don Davis: Matrix Reloaded and Matrix Revolutions. The musician adapted themes and motifs of the first part of the trilogy and composed brand-new material for the penultimate and ultimate Matrix film. The soundtrack for Matrix Reloaded includes versions of Davis´ compositions by Juno Reactor and Rob Dougan, who gave the composer´s main thoughts on the project a more techno-inspired style. Also samples of the song Dread Rock by trance DJ Paul Oakenfold was integrated in Davis´ musical material. For Matrix Revolutions, Davis wrote a phenomenal last musical chapter.
His Neodämmerung is one of his outstanding cues of the trilogy. Demaryius Thomas Jerseys It shows the musician´s talent of combining orchestral majesty with choral chanting. His first score for The Matrix in 1999 was a masterpiece. His score for Matrix Revolutions is even better – a fulminant last step in the Matrix universe. Maglia Dwyane Wade Highly recommended!
Besides his Oscar-nominated score for House of Sand and Fog, James Horner composed one of his all-time greats: the score for Ron Howard´s The Missing, which stars Cate Blanchett and Tommy Lee Jones in the leading roles. It is an American Western, which combines the thriller with the mystery genre in a very exciting way. The story is set in 1885 New Mexico Territory. Horner´s orchstral work is an exciting one, highly emotional and dark, has many memorable themes and does a lot for the movie´s suspenseful style.
The film was underrated! The score in some case, too: it was far more stronger than Horner´s House of Sand and Fog and didn´t get an Academy Award nomination.
The year was also kind of a Hollywood-breakthrough for French composer Alexandre Desplat. His score for the drama film The Girl with a Pearl Earring was an earcatcher, his first step into the A-class of Hollywood-film musicians. nike air max flyknit hombre Piano, woodwinds and strings stand in the focus of the orchestration and Desplat´s central theme for the film has a strong effect not only within the context of the motion picture. C.J. Wilson Jersey A strong work! Last but not least: Craig Armstrong´s warm romantic comedy score for the big hit Love Actually.