Happy New Year
This month we compare Thomas Newman’s score for Side Effects (2013) and Johnny Greenwood’s score for You Were Never Really Here (2018)
Rounds for this month
1 – Opening Themes
2 – Murder
3 - Anxiety
4 – Production and techniques
5 - Legacy and Impact
To find out more, or leave us a message you can reach us at @tristellarmusic on your favourite social media (twitter, facebook and insta) or via our website - www.tristellarmusic.com
Merry Christmas everybody!
This month we compare Michael Kamen’s score for Die Hard (1988 – totally a Christmas movie) and John William’s score for Home Alone (1990)
Rounds for this month
1 – Christmas
2 – Schemes
3 - Action
4 – Emotion, Family, Relationships
5 - Legacy and Impact
Added bonus – Does Kevin McCallister grow up to be Jigsaw from the Saw franchise? http://grantland.com/hollywood-prospectus/did-kevin-from-home-alone-grow-up-to-be-jigsaw-a-deadly-serious-investigation/
To find out more, or leave us a message you can reach us at @tristellarmusic on your favourite social media (twitter, facebook and insta) or via our website - www.tristellarmusic.com
We discuss our favourite soundtracks. The music that moves us, inspires us and has shaped our development as composers.
Soundtracks discussed –
Braveheart (1995)
Edward Scissorhands (1990)
Shadows of the Colossus (2005)
Interview with the Vampire (1994)
Finding Nemo (2003)
3X3 Eyes (1991)
A Page of Madness (1927) – Soundtrack 2004
To find out more, or leave us a message you can reach us at @tristellarmusic on your favourite social media (twitter, facebook and insta) or via our website - www.tristellarmusic.com
This month you can vote for what you’d like us to compare in our Christmas Special. Elf (2003), Die Hard (1988), Gremlins (1984) or Home Alone (1990)
It’s our first annual Halloween Special!
This month we compare Jerry Goldsmith’s classic score for The Omen (1976) and a more modern example, The VVitch (2015) score by Mark Korven. Along the way we share some of our (perhaps contentious) views on the horror genre generally.
Rounds for this month
1 – Opening music
2 – Missing Children
3 - Matricide
4 – Horror Scenes
5 - Legacy and Impact
Added bonus – the Apprehension Engine by Mark Korven http://www.markkorven.com/Apprehension_Engine.html
Video at - https://youtu.be/1lTYPvArbGo
To find out more, or leave us a message you can reach us at @tristellarmusic on your favourite social media (twitter, facebook and insta) or via our website - www.tristellarmusic.com
This month we do two firsts, our first foreign language film (not counting Mad Max) and far more importantly our first movies scored by female composers - Micah Levi’s score for the disturbing Under the Skin and Emilie Simone’s for the adorable La Marche de l’Empereur (which was released with some changes for the English-speaking world as The March of the Penguins)
Rounds for this month
1 – Opening Themes/Introduction of Characters
2 – Danger
3 - Intimacy and Raw Emotion
4 - Production
5 - Legacy and Impact
Added bonus - an article Ella mentions from Limelight magazine about female composers, in particular the Russian composer Leokadya Kashperova - https://www.limelightmagazine.com.au/features/gabriella-di-laccio-theres-still-a-lot-of-ignorance-of-the-repertoire-written-by-women/
To find out more, or leave us a message you can reach us at @tristellarmusic on your favourite social media (twitter, facebook and insta) or via our website - www.tristellarmusic.com
Two modern American TV scores do battle in this months Soundtrack Showdown – Dave Porter’s eclectic Breaking Bad versus the 80’s nostalgia synths of Stranger Things by Stein and Dixon.
Rounds for this month
1 – Opening Themes
2 – Main Characters (Walter White vs Eleven)
3 - Action Music
4 - Production
5 - Legacy and Impact
Exit music – ‘Tamacun’ by Rodrigo y Gabriela
To find out more, or leave us a message you can reach us at @tristellarmusic on your favourite social media (twitter, facebook and insta) or via our website - www.tristellarmusic.com
In the most explosive Soundtrack Showdown so far, we talk about the representation of women in film music, the politics of the Mexican-US border, and the meaning of the word 'doof'.
Rounds for this month
1 – Environment
2 – Heroine themes
3 - Action Music
4 - Production
5 - Legacy and Impact
To find out more, or leave us a message you can reach us at @tristellarmusic on your favourite social media (twitter, facebook and insta)
Episode 2 of Soundtrack Showdown. We look at two movies about Batman vs his arch-nemesis the Joker - Danny Elfman’s score for Batman (1989) and Hans Zimmer and James Newton Howard’s score for The Dark Knight (2008). In a spirit of light-hearted (but often quite heated) competition we break the scores down over five rounds, in which we discuss how well the music works in key areas, then declare an overall winner. This week, our rounds are:
1 – Batman Themes
2 – Joker Themes
3 – Style
4 – Action Music
5 – Legacy and Impact
In episode 1 of Soundtrack Showdown, we look at two classic horror film scores, Bernard Herrmann’s score for Alfred Hitchcock’s Psycho (1960) and John Williams’ score for Steven Spielberg’s Jaws (1975). In a spirit of light-hearted but sometimes heated competition, we break the scores down over five rounds, discuss and analyse how well the music works in key areas, and then declare the overall winner. This week, our rounds are:
1 – Monster Motifs
2 – Main Themes
3 – Techniques and Production
4 – Suspense Music
5 – Legacy and Impact
Who will win?
