Film Soundtracks and Scores

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the latest and greatest in movies with M wire

welcome to and why are you going to be about

to buy the cash for your network i'm one of your

host is your mic and joining me is more old and

hello hello we just came off the man of steel

episode which closed out our superman coverage

so there is that there's no way in hell the entire

thing is that agree with you And of course, as

always, when we're talking about certain things,

we have Canadians come on this show. We have

Mike the Birdman Don. Hello. Good morning. It's

morning somewhere. That's all I'm saying. Yeah,

I was going to say, where the hell are you listening

to this? Yes. And kind of a leftover from the

GCR music spotlight I did last year, we never

got around to talking about soundtracks and scores

in general. here in m wire tonight we're gonna

tonight today again whatever mike screwed it

up great mike i'm sorry uh... we're gonna talk

specifically about film scores and film soundtracks

cuz they are two very very different things soundtrack

is a number of you know uh... any anywhere from

nine to over twenty tracks of actual music uh...

like some like artist music like lincoln park

nickelback 12 stones whatever You know, of course,

you got a Nickelback what Whitney Houston, whatever

I can only think of one soundtrack Nickelback's

been on and that's the daredevil soundtrack Actually,

they've been on many soundtracks. Okay, that's

that's the only one that I knew Okay, they were

on spider -man. Oh right hero Technically that

was Chad and Josie from saliva. So technically

that wasn't the whole band but that that video

is made up of Chad Kroger from Nickelback, Josie

Scott from Saliva or formerly of Saliva now because

apparently he left the band and they have a new

singer whatever and the one of the guitarists

in the video is Tyler Connelly from Theory of

a Dead Man but you got that they were on the

soundtrack to The Condemned they've had many

of their songs in soundtracks Someday has been

in plenty of them photographs in a couple Daredevil

was the one where they It was an original song.

It wasn't something that hey, it's on the album

Let's put it on the soundtrack to that was the

daredevil stuff with learning the hard way They

were also on the Punisher soundtrack with slow

motion as well. Those were two original songs

in between The long road and all the right reasons,

but anyway film soundtracks and scores soundtracks

are basically, you know Contract artists that

put songs on soundtracks film scores are by composers

like Hans Zimmer like John Williams like Brian

Tyler like Trevor Rabin You know the London Symphony

Orchestra, you know all this stuff so for me

when I first Like for me soundtracks have never

been. Oh my god. I need to hear every song from

this film. I don't think I have any soundtrack

in my iTunes that I listen to the entire soundtrack,

it's like, oh hey, I love this song, this is

the only place I can find it, you know what I

mean? It's that kind of thing for me. So I don't

really listen to a whole lot of soundtracks front

to back. What about you, Mike? Where are you

coming on actual just soundtracks, not the scores,

but the soundtrack stuff? I find there's a couple

I can listen to back -to -back almost without

any problem, and this is going to come up in

my top five, actually. For example, one soundtrack

that is beautifully put together because it suits

every single scene that it works with is the

Transformers 1986 soundtrack. And the reason

I say that is whoever was producing with that...

really I think cared that it went with the movie.

It wasn't just like with studios sometimes when

they produce soundtracks like I've asked record

executives this how do you choose songs and it's

ultimately up to the label or who they want to

promote at the time it doesn't always feature

and like sometimes you'll see music from and

inspired by that's a nice way of saying please

like these motherfuckers um yeah and with with

the transformers 86 soundtrack the only one that

feels kind of shoehorned in might be the weird

al dare to be stupid but in the context of the

scene it works Stupidly, but it works. Yes in

the context of the scene it very much works,

but you're right It doesn't seem like it would

like When I listen to that soundtrack specifically

that is one of the ones where I do obviously

listen to every single song But I have to organize

it's like I've I've got an entire I've got a

whole playlist of true Transformers music, but

how I have to Like, I start out with the Unicron

medley, the Transformers theme. I have to do

it in the order that it happened in the movie.

I can't do it in the order that it was on the

soundtrack, because it just makes no sense to

me. One of the soundtracks I can listen to front

to back, and this is a soundtrack, not a score,

which changes later, is the 1989 movie, The Matrix.

I can listen to that all the way through, because

it's actually a progression of where everything

appears in the movie. I mean, I think that soundtrack

ends on the Rage Against the Machine song that

features Neo flying away. I'm actually just looking

through my computer right now. You mean 1998?

Sorry, yeah. I was going to say, wait a second

here. I don't think The Matrix was out in 1989.

Sorry, I meant to say that. Sorry. Another one,

surprisingly, is I'm just going to look at my

phone. I was actually... driving today and did

this with my wife. Pulp Fiction is another soundtrack

I can listen to back to back. Armageddon is yet

another one surprisingly. Now where do you guys

think soundtracks or I don't know if you call

this a soundtrack or a score, where do you think

stuff like Grease and Hairspray comes in? Because

those are original songs composed for stage plays

that then were adapted for the screen. I kind

of consider those like their own separate entity

in a way because it's They were conceived like

you mentioned prior to the movie Being a musical

and it's kind of just it's kind of I put them

the same way you put like songs from a Disney

cartoon because they're kind of just taking the

beats of the beats from the movie and put placing

it into a Onto a soundtrack. I think it's a harder

comparison since those are huge story elements

to us a movie unlike say a regular soundtrack

because they're that you're getting plot you're

getting character development within a song unlike

you know most soundtracks which is just really

added adding atmosphere to the movie or kind

of adding a little bit more style but like a

soundtrack for a for a musical thing a little

bit different but something i think that's personally

how I first started getting into soundtracks

was when growing up as a kid and getting into

like the Disney soundtracks from some of the

classic films. I think it's kind of like the

gateway drug to bigger and better soundtracks.

Absolutely. I mean, other ones that I kind of

thought of that very much once again, front to

back. And I think the 90s was the best era for

soundtracks is like I mentioned, Pulp Fiction.

Armageddon. Get Shorty is another soundtrack

that you can play back to forward, I find. I'm

looking through my soundtracks right now, and

this is mostly music that would appear in the

movie. One that really nailed the feel was the

Crow soundtrack, and I remember everybody buying

that when I was a kid. I would also argue Dangerous

Minds had a good soundtrack. Forrest Gump. And

these are movies the main reason I'm suggesting

it is because they gave the movies they're in

texture They weren't just hey, here's a pop song

because unlike say the American pie soundtrack

Which very much plays to a teenage audience and

that sort of Porky's meatball sort of feel there

wasn't anything really memorable about the soundtrack

for them I just felt like they're thrown together

there might be one or two singles off the soundtrack

that you remember but nothing that really stays

with you. And the Spider -Man soundtrack has

two or three good songs, but the rest of the

music is ultimately forgettable. Who the fuck

remembers who Macy Gray is? I'll tell you, three

people. And the thing with the Spider -Man soundtrack

specifically is that it went down like I remember

Spider -Man 2 I was super stoked for it because

it had a Maroon 5 song and an exclusive Maroon

5 song on it and it had a couple other things

but like the rest of it was just no I don't care

no I don't care no I don't care Spider -Man 3

I looked at it and I'm like Who gives a flying

fuck and that's the spider -man 3 soundtrack

has exactly what you were just talking about

someone throwing in You know a licensed artist

labels on whatever and no one knew the fuck any

of these people were and that really sucks because

Danny Elfman's Score for those movies is really

good But I know but every but it I mean that's

the problem when when you have a big license

property They want to have songs that go with

it one One people one particular series of movies

does it right where they bring in a licensed

artist and they do an original song for the movie

If you don't know what i'm talking about talking

about the james bond movies Like oh yeah, and

those have been up and down over the years. I

mean some of the biggest successes was having

palm paul mccartney duran duran uh tina turner

madonna and chris cornell honestly the only and

adelle most recently with uh skyfall yeah that's

a terrible song and that's my first exposure

to her i don't think i'm going to seek out much

more and i know dan is going to disagree with

us on this because we already talked about this

in the bond episode for skyfall There was an

artist on The Voice season four this year, Amber

Carrington. She actually sang that song and sang

it so much better than Adele. I was like, yeah,

I'm like you, Mike. That was my first exposure

to her. And I'd heard, oh, all these great things

about her. I just don't give a fuck. It's so

fucking bad. Yeah. It's just not one of those

things that really kind of caught me. And it

seems like in the 80s, for example, they were

less terrible with picking music for movies.

And that may be the nostalgia glasses talking.

But a really good example of this is the Ghostbusters

2 soundtrack. It had Bobby Brown on it. It had

Oingo Boingo on it. It had Elton John. Yeah,

he does this awesome song called love is a cannibal

that I don't think is on any other CD I think

it's just exclusive to this one and I've got

some really cool raps I got run DMX they're doing

his own version of the Ghostbusters theme and

It's just it's a great soundtrack and you can

hear where where they use it in the movie and

it works I mean the sound that the Ghostbusters

one the most memorable song out of that one was

probably a lessee saving the day everything else

is kind of But I've prattled on long enough.

Someone else picked this up. I think with soundtracks,

you kind of have two ways people go about it.

Well, I guess more than two, but two main ways.

There's just the getting huge stars and throwing

it on a soundtrack, kind of like you mentioned

with the Spider -Man soundtracks, where you're

just getting people who are popular at the moment

and then using that to sell records. And then

there's soundtracks that are really made... And

to fit the style in the field, fit the tone of

the film. And there's like certain filmmakers

to me that are really great at using music really

well within their movies. And you mentioned one

with Pulp Fiction and Quentin Tarantino. He is

a really great at song choice and picking unique

and interesting songs that shouldn't fit in certain

elements, but surprisingly do, like with Django

Unchained, using like classic rock, using soul

songs, using... current pop hits inside this

western and it should just be kind of corny and

generic but the way he uses it he uses at the

right beats it's perfect another one too is Wes

Anderson who is a tendency to use a lot of uh

60s like uh classic rock, a lot of interesting

songs as well. And I think he's really great

at using songs. And there's a huge portion to

setting a tone for his films is his use of soundtrack.

And another one that comes to mind is Cameron

Crowe. His movies aren't always great, but he

always has really great soundtracks with almost

famous. I was going to say, yeah, that's the

one that I can think of. Yeah. He has a really

great sense of style when it comes to music.

Movies not always well like lately as movies

haven't been all that great, but you can always

guarantee that his soundtracks will work Has

he done anything in the last ten years? Honestly,

I haven't seen anything Last thing the last thing

he did was like we bought a zoo, which was not

very good, but it had good music for me when

I got in the soundtracks, I think it was more

because It was cheaper because it's I can get

all my favorite artists in a Bunch of CDs exactly.

It's like I can it's like those, you know now

CDs, but better because there are better artists

and there are songs that you really can't get

anyplace else so it's like i can buy this this

uh soundtrack for varsity blues which is horrible

but back at the time i thought it was awesome

um or i can buy it varsity blues soundtrack is

awesome and so representative of the 90s too

there's actually another soundtrack that i'd

like to kind of bring up to you guys that this

this soundtrack spawned three additional cds

and it's always that music from and inspired

by shit The Hacker's movie. Oh, I know it. Incredible

set of CDs. I know it. The first soundtrack was

cool. The others... I don't know, man. I just

don't like... For me, and that's nothing we can

talk about, for me... Well, I think one of the

reasons why I hesitate on the hackers volume

2 and volume 3 or whatever they're called is

simply because of the fact that If it's not in

the movie if I don't hear it in the movie So

that's the other thing if I don't hear it you

don't connect I'm watching I won't have a connection

with it with me either reason I connected with

it is there was one song called orb Toxygen,

which is I think the second or third song on

hackers too, I think. And I used to do homework

to that song and I just loop it. And there was

just something about the way I think the hackers

sound like whoever produced those CDs knew kind

of where the techno scene was evolving. And you

can very much like you just hear the sounds from

then and listen to the sounds now. And there's

such it's kind of like watching early rock to

me watching it evolve into what we have now.

From Rolling Stones to Metallica to I don't know

who's the big band now That's another thing to

disconnection with music, but um, yeah, I mean

hackers really nailed it But you're right though

unless it's in the movie. It's hard to connect

it I think the most successful song to come out

of that out of hackers. I think was voodoo people

by the prodigy and I think I know the artist

I think is called two MCs or two stereo MCs.

I'd have to look it up. Stereo MCs connected.

Yeah, because that song has such an identifiable

beat and when used in the movie, it so works.

I mean, there isn't a bad song on that soundtrack.

That's yet another one I can listen to right

from the get -go. I mean... There aren't too

many soundtracks that can really pull that off.

I mean, nowadays, I mean, I can't remember a

memorable, I can't remember a soundtrack I bought

in the last couple of years outside of maybe

the Transformers one. And that's only because

it had a Linkin Park single. And even then with

digital distribution, you're not buying soundtracks

now. Nine times out of 10, you're probably just

buying a single. Yeah. I mean, honestly, that's

like, but Again, again, this is something else

we can talk about. One thing that really, and

I know it's more so the record companies than

it is iTunes, specifically to Transformers Dark

of the Moon. I hated whatever the record company

name was for that soundtrack specifically because

they made a lot of the stuff album only. So in

order for me to get, I'm actually looking, I'm

gonna look at it right now. In order for me to

get, uh... music from inspired by a lot in order

for me to get uh... the stains on the bottom

or the google dole's and nothing was all the

three of them and song head above water i had

to buy the entire album just to get that song

in in this the dark of the moon soundtrack had

come out before the new theory album so it's

like all my god you jerk -offs Um, but yeah,

no the whole digital distribution thing is so

it's great and at the same time it sucks because

of that whole thing where record companies put

that restriction on you must buy the entire album

to get this Yeah, and it's not always a good

good kind of thing either Another soundtrack

that I remember everybody having when I was a

kid was I remember everybody having coyote ugly

and the mission impossible soundtracks are everybody

having those I mean, I remember specifically

the Metallica song for Mission Impossible 2,

I Disappear. What was the one for Mission Impossible

1? Metallica? I don't remember from Mission 1.

No, there was a song that was done specifically

for the soundtrack, and I can't remember who

the hell it was. I can't open up the file. Mission

Impossible 2 also had the remix Limp Bizkit did

of the... The classic yeah theme which I remember

at the time was like really cool. I thought we

yeah. Yeah, I Remember wouldn't let you know

Olympus was popular and actually a band I think

what's interesting too is like you look at the

80s and you don't really see this much anymore

It's like the use of theme songs and like how

a lot of movies like we had Ghostbusters and

how like every movie had its own theme song like

it would open up They even twins had a theme

song to it and because soundtracks were I think

had more important during the 1980s when you

had the boom of MTV and music was so prevalent

within films. There was such a direct correlation

to the youth movement of films with what was

popular regarding music and in the 90s as well.

One that kind of comes to mind is probably Top

Gun. Yeah. There's like that to me. It's just

like an all, it's like the quintessential 1980s

soundtrack. That and Beverly Hillscock, I would

argue. Yes, yeah. It just, it's just, there's

a little bit of corniness to it, but it works.

And the songs are just as memorable in the moments.

Like you hear the song, you know exactly where

it takes place in the movie. Yeah, like it. It

touches you in just the right place where it

pulls memory and that's the sign of a really

good choice or a really good composer Now I'm

surprised that There isn't a lot of like exposure

for this but Specifically to the Mission Impossible

one soundtrack two members of YouTube did the

theme up like an updated version of the theme

Larry Mullen and Adam Clayton Maybe that's what

I'm thinking of then that's probably what you're

thinking of but the other thing is on this soundtrack

It has composed music From Danny Elfman and it

is not like I have never seen it I've never I

never saw this soundtrack advertised Danny Elfman

on mission and but like I've like I've never

heard him be associated with this at all Headphones

from Bjork is on here You might be thinking of

the dreams song by the cranberries. Maybe yeah,

I mean, I just don't Like I said, I remember

the singles, but not everybody remembers everything

else that was randomly thrown in. Yeah. I'm just

looking through some of my other soundtracks

I've got on my computer here. I'm trying to think

of other ones that came out in the 90s that were

really kind of stuck the hell out. That's the

Empire Records. Yeah, everybody had that in high

school. Yeah. I'm trying to think of what else.

Man, what the hmm. I'm thinking here. That and

that coyote ugly soundtrack was all it was basically

a third or fourth Lee and Ryan Yeah, pretty much

I mean that's really what it was, but I absolutely

loved that soundtrack because It was it was just

so cool. You've got you've got one two three

four you got Four Lee and Rhyme songs you've

got all she wants to do is dance by Don Henley

Unbelievable by EMF the power by snap. Oh my

god Mike, Power Rangers and Coyote Ugly use the

same song. Power Rangers, the movie that snaps

to power is on that soundtrack. Wow. I was really

hoping you'd tell me Ron Rasserman or whatever

the hell his name is did the music. That would

be it. There we go. Go back and have him re -score

movies. Yeah, I mean. I'm sorry. Yeah, go ahead.

Yeah, the like if you look at like a lot of the

MTV films that were released they tend to like

the when they got into movie distribution They

tend to have pretty solid soundtracks. We talked

about varsity blues and some of us in butthead

Yeah, Beavis and blood had come come to mind

Joe's apartment Joe's apartment dead man on campus

election, which is a movie I really love save

the last dance. Remember being very popular at

the time. Yeah They're just they tend to get

really popular music at the time hustle and flow

from early 2000 like that. Yeah, that is a really

great Soundtrack and really great song within

it with with Terrence Howard Howard and one that

comes to mind like one of the earliest soundtracks

that I can remember that really stuck out which

is from the graduate that soundtrack is very

You look at how that's using that movie. I think

that was really a groundbreaking soundtrack because

it was taking very kind of earnest film, like

music at the time, really captured that culture.

And I think that kind of set the groundwork for

a lot of soundtracks today, and especially in

the 1970s and the use of classic rock. And I

think that the graduate kind of exposed a lot

of people to music they probably would have otherwise

missed. Yeah, I can think of another one that

works well. And this may be almost a transition

in the scores. Full Metal Jacket. Oh, yeah. That's

got a lot of good music in it. Between Full Metal

Jacket and Forrest Gump, that was just those

two soundtracks were just a showing of the times

that those movies are set in. And it was just

so awesome. Mm -hmm. I mean, this is a weird

one, so hear me out here. There was a CD that

came out in 1989, and it had this awesome song

by Alice Cooper called The Man Behind the Mask,

and this is for the Friday the 13th special edition.

And it was so fucking good that whatever I make

mixed CDs, I know how 1999, I still play these

in my car today. And that's another thing, too.

You could get away with novelty songs back then,

like how Dan was talking about theme songs. There

were ones for Friday the 13th. There were one

for Ghostbusters. And one of the more recent

ones I can think of, like 13 years ago, but still,

the charlie's angels yeah and that was it was

goddamn catchy and that and that's the other

thing we can talk about is that with specifically

i can't believe you brought this up but specifically

to charlie's angels um it also allowed soundtracks

sometimes would allow for covers of well -known

songs by today's artists like again i know everyone's

gonna cringe when i mention this but Nickelback

teaming up with Kid Rock to do Saturday Nights

Alright for Fighting on Charlie's Angels. It

wasn't a terrible song, and that's the thing.

No, it's not. And that's the thing. It really

wasn't. But it's like, what I've noticed is,

and I hate to say this, this is more of a music

thing than an actual soundtrack thing, but with

covers, sometimes the covers are, I almost enjoy

those more than the original song. Oh yeah, same

here. Definitely. What I really hate about soundtracks

is if something is meant to happen that never

does Theory of a dead man was supposed to have

a song on the Avengers soundtrack and it never

happened You know what sucks? I can only remember

one piece of music from the Avengers and that's

the theme and the big battle in New York That's

not good. And I think I can't remember. I was

talking with Leo that sci -fi guy uh from that

guy with the glasses and he said that's the worst

insult you can say about a soundtrack or a score

is that you don't remember it and i was actually

talking to him because i i know mike you really

love you broke up mike thank mike you there yeah

i'm still here okay you broke up you're gonna

have to redo that uh in 2826 okay Okay, uh one

of the things Mike I was saying you really like

the Iron Man 3 soundtrack. I Can't remember anything

clarify clarify. I like the score. I don't yeah

Yeah, and I can't remember anything from it at

all Yeah, I think Marvel and actually most a

lot of the films in general maybe minus like

the the Dark Knight trilogy Like the big blockbuster

today. I think I really missed missing Like the

classic, you know classic soundtrack classic

themes and I think a lot of the reason is like

the movies today There's there's more of a somber

attitude. Think of the classic themes from like

john williams or you think the classic Uh things

from like back to the future all these different

songs. There's a certain earnest to them There

are certain celebration to these theme songs

and today like everything has like all every

Blockbuster has to be serious and has to have

a darker tone to it so and so I think we see

reflection of that within a lot of the soundtracks

and they're either they're muted or they're even

Those like the Dark Knight tend to be more downbeat

more, you know lower tones They're not necessarily

as upbeat as something like, you know the early

Superman theme song or even the Batman scene

song theme from 1989 And I do wish we saw that

because I can't think of like a classic theme

that kind of anyone can hear today that cam has

come out in the last five to ten years like we've

had in the nineteen eighties and nineties especially

in the seventies okay you're talking about the

last five to ten years okay i was going to say

wait a second Axel laugh but yeah i know what

you're saying um but just a touch on soundtracks

before we get back there's a few that i think

it's one that it's kind of like a cheat But I

think it fits, which is The Beatles, The Hard

Day's Night. I mean, it's The Beatles, so obviously

it's amazing. But that was basically a movie

made for its soundtrack. And also... The Brother

We're Out Thou from the early 2000s, the Coen

Brothers movie, which I think that actually won

Grammy for album of the year. I think it got

more acclaimed than the actual film did, with

its bluegrass themes. I think that was the last

time we saw a soundtrack for a movie really take

off as a critical hit beyond just being popular.

Yeah, we're gonna take a quick break and hear

some musical stuff and we'll come back to talk

about scores after this Okay, so we're going

to talk about scores. This is all instrumental

stuff. All stuff that, that, you know, carries

weight in films. For me, as an 80s kid watching

Beverly Hills Cop in, I don't know, the late

80s, early 90s, that Axel, Harold Falzmeier can

do no wrong, but that Axel F. theme was just

amazing. Yeah, and it's one of the things that

if you it immediately brings up so many nostalgia

things help if the 80s had a song It might very

well be that I know As far as the 90s, I'm trying

to think for scores. Okay, you got Armageddon

Armageddon. I guess kind of bordering would be

gone in 60 seconds. Again, both done by Trevor

Rabin, who is easily one of my favorite composers.

I look through his filmography and there's so

many soundtracks he's done that is like, oh my

god, I like that, I like that, I like that, I

like that, I like that, it goes on and on and

on. Mean this is a guy that can do music for

Jack Frost with Michael Keaton as a snowman to

going to do stuff like Armageddon or gone in

60 seconds You know or whatever. It's just it's

just simply amazing what that guy can do And

I don't know it for me the music has to hit me

like it really really does And it doesn't necessarily

have to hit well, I would say two things it has

to hit me while I'm watching the film And it

has to, like if it hits me when I'm watching

a film and I can go home and buy the song or

the soundtrack or the score afterwards and I

can listen to it over and over and over again

afterwards, then you know I'm a fan. There are

specific score songs from The Italian Job, 2003.

There are specific scenes in that movie where

there's amazing instrumental stuff done and I

absolutely love, I think there's a song called

Boat Chase. absolutely love that and I just I

don't know it's just one of those things where

you really get pumped up to hear and I know Mike's

a fan of this and we'll talk to Dan later but

I had never until Tron Legacy never ever because

I'm not an electronica kind of guy never got

into Daft Punk until Tron Legacy and their instrumentals

for that movie were just Downright amazing. Oh,

yeah. I mean, Daft Punk, I listened to it in

the 90s. I knew harder, better, stronger, faster,

and one more time. And they were just like, oh,

that's nice. If it shows up in my iTunes, I'm

not going to skip it. Yeah. But when they did

Tron Legacy, that I really think was a groundbreaking

thing because someone described it to me as a

90 minute long music video for Daft Punk. I'm

OK with that. Mean legacy. Yeah, it's it's it's

got its problems, but listen to the sound design

how music Carries that movie. I mean, yeah, the

movie's kind of shit, but the soundtrack is phenomenal

Movie even though it does have you know some

problems. I still enjoy that movie. I enjoyed

the cartoon series more I haven't had a chance.

It's on Netflix. I haven't had a chance to go

back and watch all of it Yeah, it's pretty friggin

cool Sorry, but one one center today like that

kind of correlates. I think it's really was a

big a Reaction or something that kind of continued

what that started that death buck was a chemical

brothers soundtrack for Hannah It it's very similar

and it's like, you know, it's very electronic

and It's what I like about certain scores It's

there there are scores that you can listen to

like on your ipod Or you can listen to why you're

like working out or just in the background And

there's certain scores that you really won't

don't want to listen to unless you're watching

the movie And that to me that's the one that

comes to mind is the one for hannah like it's

it works within the film and it's because it's

kind of odd and it It's not the most pleasing

sounds in the world But for like it's really

great at kind of setting emotion and kind of

keeping you off kilter um, and I kind of like

soundtracks that do that kind of kind of uh are

necessarily surprising in what they can do, and

the ones that kind of can take you into interesting

places that can adjust the way you see the film,

and you're those certain filmmakers who know

how to use certain composers, and we have a lot

of classic partnerships between, you know, you

have the Williams and the in the spillbook partnership

and one that's really kind of starting that way

as well as the petty greenwood and the thomas

anderson's partnership with like the master and

uh there would be but i like those two soundtracks

are vastly different but i think both amazing

but anyways what were you saying mike and immediately

cut you off which one because now i'm lost i

you know i'll start i'll kind of transition with

this because One of the things that really kind

of makes me mad sometimes is, again, I hate trailer

companies. I really do. Because, specifically

to the Spider -Man movies, there are pieces of

music that are in the trailers that was done

by Danny Elfman, specifically probably for the

trailer, that is not on any of the score. Like,

Spider -Man 1 specifically. There's, if you watch

any of the old Spider -Man... uh... two thousand

two trailers there is that and and and and uh...

i don't know how to mimic the sound but there

is that song that is real solace in the background

and it's nowhere on the soundtrack i cannot stand

when they do that it just don't like that at

all uh... i don't know for me like i said yes

it doesn't in the context of moving also has

to be music that i can listen to Over and over

and over again and for me a lot of times what

I find now is if I'm writing up a review of whatever

the like like if I'm writing up a post about

Iron Man I actually have all three scores one

from Do do Wadji whatever the hell but i forget

what the guy's name is that compose the first

iron man score it's got a lot of good music and

it's john dabney did uh... iron man to obviously

brian tyler diamond three i like to do that where

i can and it doesn't necessarily affect my writing

it in more so helps it's to the point of okay

and you know i'm sitting here writing a little

this song comes on that's kinda cool and i just

continue going on writing and i i just i really

like that i like to A character's music go along

with if I'm writing about that character We talked

about theme songs and I think one within soundtracks

I think scores have are the same way and I think

one genre that is probably more known for having

Scores and theme songs is probably the horror

genre. You think of like a lot of the classic

horror Halloween Jason exactly lesser extent

Chuckie and Freddy Even way back to Hitchcock,

I mean, Psycho. Show us. Done, done, done, done.

Exactly. Dilem from Murder. I think if any genre

in particular, horror specifically is one that

really needs a strong score to really help emphasize

the fear or the tension on screen. Those are

two or some of the scores that stick out to me

or those classic, especially from the old Hitchcock

and just how Hitchcock would really use it really

well, especially in Psycho and just like that

sour scene and how that music is just so off

putting even today, like 60 years later and how

well it still works. Absolutely. I mean, horror

is half of it is sound. you have to convey you

have basically sound in horror movies specifically

it because there I know there's a certain frequency

of sound that makes you feel uneasy and I wonder

if they manipulate you with that and that's a

good thing like I love John Carpenter stuff with

like Halloween and I think it's Harry Mancini

did Friday the 13th I think I probably got that

name wrong. But anyway, that kind of set the

prototypical music you'd see in horror movies

and horror movies get overlooked a lot. I know

of a really good composer right now who started

out in horror was Bear McCreary. He did music

for Wrong Turn Four, I think, or two or something.

Either way, one of the sequels that no one cares

about. And then he would move on to Battlestar

Galactica and The Walking Dead. And that's another

thing, too. I think television scores don't get

acknowledged nearly enough. One of the things

that I would also argue has a really good history

for soundtracks is sci -fi. Do I even need to

go with a Star Wars, Star Trek, blah, blah, blah?

Lesser known, but still appreciated. When you

hear the Robocop theme, I think you just know

it's Robocop. For example, it's one of those,

I feel very identifiable pieces of music. Another

movie that has a wonderful soundtrack and whoever

did sound design for it, I'm pretty sure these

two guys worked together. Although I know the

soundtrack for this movie was rushed. Aliens.

Think back to James Horner's sound when they're

in the nest and they're surrounded and the percussion's

going or Ripley fighting the alien queen. or

even just the opening with that that horn is

that and then it lights up and flares up and

shows aliens that man that's a movie where if

you have a 7 .1 surround sound system crank that

fucker to 11 and just zone out because it is

two and a half hours of bad road that is fucking

amazing. You can tell I feel very passionately

about this. Other things I'd like to bring up,

too, in terms of television stuff, is a guy named

Mark Snow. Mark Snow did a lot of music for The

X -Files, and during the 90s, I think that's

one of the best shows that had music composed

for it, along with its companion show... Millennium

because it had first a really identifiable theme

song. Once again, like psycho. It's a piece of

music. You hear it. You know exactly what it's

from. And I was like, oh, and then he then he

would later move on to music for Smallville,

which that's the only television show I hate

the fucking theme song to. I hate save me. I

skip it every time I watch that thing on DVD.

That's enough of you, Remy Zero. The first time

I heard that song, when that show first premiered

back in 2001, the first time I heard it, we had

seen Lex in the opening credits, and I'm thinking,

and I had seen the lead singer of, oh god, I

forget what the name of the stupid guy, I forget

the name of the band that does Save Me. Remy

Zero. I really thought that Michael Rosenbaum

was the lead singer. I remember when they're

in the, what is it, they're just before the tornado

hits, they're in the Smallville High gym and

Pete Ross leans over to Tom Welling or Superman,

whatever, and he's like, Rebi Zero. And he waves

out of like, you corporate fucking cell. I hated

that moment. I just had to let that process.

And other things I wanted to mention was Marilyn

Manson. You might be thinking, he doesn't do

scores. Actually, he kind of did. 2001, I think

it was, Resident Evil came out. And the piece

of music he did for that movie that had the very

heavy guitar and it was very screechy, some of

the best work I've heard from him in his entire

career. and because it gave those scenes that

sense of tension, it gave those scenes weight,

and not as good as some of the Resident Evil

sound that has come out. I mean, Resident Evil

games, for example, have fantastic music to them,

especially Resident Evil 2 and Resident Evil

4. And I think Marilyn Manson really kind of

captured that in terms of kind of making it really

good. And to jump gears again, uh excuse me um

was a guy named Steve Jablonski and I'm pretty

sure he did the music for all three Transformers

movies he also did the music for the for the

for the video game Gears of War he did all three

of them and I didn't appreciate his work in Transformers

till I heard the stuff that he could do in Gears

of War and he's a guy I wish that would do more

stuff on soundtracks and there's another soundtrack

and you're gonna think i'm weird for this one

but i really like the emotional ties that it

brings out uh the movie broke back mountain when

that came out and what year was that 2004 i want

to say 2005 2005 and the guy who did that is

a guy named i'm just trying i'm gonna get his

name right now because it's right in one of my

folders here uh gustavo san Tola or Santiella

he just did the music for the for the video game

the last of us This guy makes strings. I Don't

know. It's almost like they're possessed Because

you get this really creepy feeling and almost

a warm feeling at the same time, especially in

the last of us No spoilers by the way. Um There

are several points in that game where the music

makes you feel downright depressed Like it's

a tangible feeling. It's like a like there's

one moment in the game where a character passes

away and I'm not gonna mention who and It's like

holy shit that just happened and then the scene

cuts the black and then it just plays out this

haunting guitar And when you listen to his Brokeback

Mountain soundtrack, you can feel the love there.

It's like this guy paints with emotions. And

I know I'm sounding really poetic and a little

bit hipster here, but he's the guy who does soundtracks

that I really wish more people would talk about.

It's just, it's fucking gorgeous. Now, someone

else pick up the ball. Pass! Going back to James

Horner, his soundtrack, his score filmography

is just daunting. It's huge. Yeah, it's huge,

but like the guy who did the stuff for aliens

also did Honey I Shrunk the Kids and an American

Tale. Which is really weird, isn't it? It's really

strange. He's got Legends of the Fall, Searching

for Bobby Fischer, Courage Under Fire, Ransom,

the 1996 Mel Gibson movie, How the Grinch Stole

Christmas from 2000, The Perfect Storm. Graficon.

A beautiful mine. Did you, Rathacon? I know he

did Search for Spock. Yeah, he did that too.

He also did fucking Commando, of all things.

Willow. Recently, which is... It did not hit

me at all. The recent one that he did... Wait,

what? There's a Romeo and Juliet coming out this

year. What the hell? Yeah, I'm curious too. Oh,

crap. British adaptation. Oh, God, here we go.

Doctor Who and the fucking Romeo and Juliet people.

Great. Awesome. Jesus fucking Christ. This is

the last thing we need. James Horner, he's a

great composer, like we've said, but the one

score that really, like, gave me... Kind of like

what you said, you felt like you couldn't remember

anything memorable from the Iron Man 3 score

from Brian Tyler. Yeah. Amazing Spider -Man score

that Horner did. Again, it goes to if... the

music that was in the trailer was on the soundtrack,

it would be great. But I, like, I could not believe

he put his name on that. I was like, oh my God,

I just don't know what he was smoking doing that

job. I think Elfman did a better job with themes.

Yeah, he did. At the same time, people have often,

I've heard several people tell me that, Oh, Danny

Elfman, I'm sick of him, his music's all the

same. If you listen to Batman 89 and you listen

to Spider -Man, it's the same damn tones and

blah blah blah. I disagree. If you listen to

his Batman theme in Batman 89 and listen to the

original Spider -Man theme from 2002, they might

have similar things, but it's pretty much different

music altogether. There are two movies on his

- Filmography, I feel kind of sad for him that

he's done. So three themes or three things. Yeah,

I'd like to point out he is the musical genius

behind Balto. For those of you that remember

that fucking movie, Jack the bear. And of course,

the Emmy award winning the page master with Macaulay

Culkin. OK. Other ones on his filmography, I

did not know this. Pee Wee's Big Adventure. Which

is fucking badass. Beetlejuice. Big Top Pee Wee.

Scrooge. Wow. Dick Tracy. Okay, now Dick Tracy.

I could see if someone wanted to point out to

me that the Batman themes and the Dick Tracy

music is somewhat similar. I can understand that

because I do remember that. He, you know, he

did do several things in Mission Impossible,

as we already mentioned. He did stuff for Mars

Attacks. Oh my god. I remember some of that,

actually, off the top of my head. Which he also

did Casper of all, and Braveheart, Titanic, Apollo

13, which I remember a lot of music in that.

Oh, I know it. I mean, he did the score for Real

Steel. I haven't seen that yet. I need to get

on that. Yeah, you do. I don't know. Dan, what

are some of your other thoughts? Well, I think

kind of going back a little bit further to some

of the classic composers that we really haven't

touched upon yet, any talking about those that

have odd... Or wide wanger movies that they've

done like one that comes to mind. It's like Jerry

Goldsmith who's done everything from You know

basic instinct which we've done an M which we

did an M wire, you know way back when She's on

Planet of the Apes, Tora Tora Tora, Chinatown

Alien He has done even from like most probably

most recently the mummy even the Mulan like his

his like Filmography is quite crazy Yeah, but

like you were saying, he's a classic composer.

His very first thing was for a TV series, The

Lineup, in 1954. Yeah, he's had quite the career.

And someone like Elmern Bernstein, who... Ghostbusters?

Ghostbusters The Great Escape To Kill a Mockingbird

The Ten Commandments He's like just the wide

range there from something like the Ten Commandments

to the Ghostbusters and you're talking about

years upon years and films that have all different

types of styles and Didn't someone like Max Stirner

who he's done a lot in great like classic Noirs

like The Big Sleep and Casablanca and Sergeant

York Didn't even like you know, the classic King

Kong It's crazy when you look back at the filmography

from those that composed in the 30s 40s 50s and

even the 60s Because they were doing like seven

eight movies a year more than that because you

know movie studios We're doing so many movies

back then just crazy how much they had to kind

of shoot out Yeah, some things are better than

others, but still it just the ability to do a

classic Themes are classic themes within the

same year. I mean we see we see that now something

like John Williams, of course Like he's been

nominated so many times for Oscars twice at the

same time and he probably doesn't even bother

showing up anymore Just sends like a like a the

alien body double. Yeah, I think he's like I'd

you know, I It's not if John Williams is going

to be nominated for an Oscar this year. It's

which one is he going to be nominated for, basically.

And one thing I did want to talk about, we talked

about horror and how people forget how important

scores are. One genre, too, that's I think probably

even more forgotten is documentaries. Oh, God,

yeah. how huge scores are for those, especially

like Philip Glass and what he's done for things

like Thin Bu Line, The Fog of War, even Alex

Gibney's documentaries. He does a lot of talking

head documentaries like Client 9, most recently

We Steal Secrets, The Story of WikiLeaks. And

with those talking head documentaries, they can

get kind of tedious, but using scores and that

as a huge portion of documentaries that's often

forgotten. I think people don't really appreciate

how important they are for that genre. There

are two soundtracks I can think of for documentaries

that were particularly well done. One is called

Shark Water. If you've ever had a chance to see

that, it's about shark finning and how we should

probably stop that. It's not a good thing. They

actually share a piece of music with the Thomas

Crown Affair. And it's the last chase sequence

in the Thomas Crown Affair. They also use it

as a chase sequence in the documentary and it

works so well. Like with these like HD kind of

visuals and everything with all this underwater

photography. Almost anything by Michael Moore.

All of his documentaries are remarkably well

done. Yeah, now there is one, this is slightly

off topic of music, but... There's a documentary

coming out I think later this year By Alex winter

all about Napster I'm looking forward to that

actually I am I really am I I had heard it on

when when Chris Harwick had him on the Nerdist

podcast a couple weeks ago I was like Alex winter

the guy from bill and Ted. He's a gay. Okay,

and I listed and the dude he's not just that

care like You know how you look at movies and

you see that person as that character for, like,

you know, you look at Michael Keaton, you're

either going to think, okay, Batman, or... Well,

yeah, there is multiplicity. Hey, Michael Keaton's

a bad example because he has too many, but, um,

Toby Maguire. Most people are going to look at

him either from being a voice in Cats and Dogs

with Jeff Goldblum, or... He's fucking Spider

-Man. He will never change that. Or Pleasantville.

You know, it's one of those things where you

have a role that you think that that actor is.

And I was really surprised listening to this

Alex Winter interview that Nerdist did. And it

was really cool. And I was like, he started telling

a story of the documentary that he's been working

on for the past X amount of years about Napster

and that whole musical downloadable generation

that there was about 10 or 15 years ago. Or even

longer than that, about 20 years at this, oh

my god, 20 years at this point, holy crap, I'm

old. But bringing it back around to soundtracks

is yeah, I mean documentaries have some very

interesting soundtracks. Again, you guys have

seen Enemy of the State, right? Yes. You guys

have seen... Oh man, let's see, the other one

he's done. Isn't that Harry Gregson Williams?

Is that who you're talking about? Enemy of the

state? I didn't even know this. It's Trevor Rabin,

and I hate to keep going back to him, but it's

one of those things where, oh my god, I cannot

believe that the same, like I said earlier, Trevor

Rabin did Jack Frost in the Snowman movie with

Michael Keaton. He did Enemy of the State, he

did Gone in 60 Seconds, he did the Armageddon

score. It just shows you how, you know, we were

talking earlier about James Horner and how many

films he's done. It shows you how versatile these

people can be without having to, you know, you

look at Alan Silvestri and John Devney who helped

out with Alan Silvestri. Al and Sylvester did

most of the music in Back to the Future, and

I think Dabney and the London Orchestra went

back and kind of redid it a little bit for the

25th anniversary releases, but you look at the

Back to the Future movies, and wow, not just

the actual music, not just the Huey Lewis stuff,

not the 80s stuff, but the actual score to those

films is damn good. Yeah, and another... One

I want to talk about with documentaries that

I failed to mention was a Waltz with fresh fresh

here Which is like a pseudo documentary pseudo

animated movie and that is like a really powerful

score to it but You're right. Just the the versatility

of a lot of composers is really underappreciated

because they can do high class, you know deep

cinema or just like, you know good old -fashioned

family entertainment. The ability to kind of

know your audience, know your subject matter

is key. And I think that speaks volumes, because

even things like commercials, like a lot of commercials

are scored by some of the greatest composers.

you realize just how they can kind of use their

style and just small tidbits within like commercials.

But yeah, I agree, like the versatility of some

of the greatest composers is crazy. And there's,

you can understand why you have like usually

at any given time, you know, five to 15 composers

that are really prevalent at the time. And then

everyone wants to work with them. Like right

now probably. Besides John Williams, you know,

Hans Zimmer is kind of the high item. And the

Dark Knight trilogy and now Man of Steel, yeah.

I was really surprised. You know, I said it last

time when we did our Man of Steel review. I was

surprised to see his name attached to Man of

Steel because he did so well with the Dark Knight,

I'm thinking. And it was one of those things

where I thought, OK, well, he did this with the

Dark Knight. What's he going to do? How's he

going to like? make people think that the man

of steel score is different from what he did

with the dark knight films because as we all

know christopher nolans attached to man of steel

you know everything else and i'm like how's it

gonna but it was very different than what we

got in dark knight and i really really enjoyed

it i thought it was great um another one i want

to bring up really quickly is i mentioned earlier

brian tyler mike you like video games right I

do like video games. Sort of my thing. Yes. Brian

Tyler has been doing video game scores since

2010. He has done Lego Universe, Call of Duty

Modern Warfare 3, Need for Speed The Run, Far

Cry 3, Army of Two, The Devil's cartel, and this

year he's doing the score to Assassin's Creed

4 Black Flag. Which that should be fairly awesome

for him, and that's something else no one really

talks about is video game scores anymore. Or

at least, in this conversation, I want to bring

it up very very very quickly. The guy I mentioned,

Harry Gregson Williams, who did, I think it was

Enemy of the Sith, the Will Smith movie. He did

the music for Metal Gear Solid 2, 3, 4, and some

stuff for Peace Walker. Fantastic stuff. That

is one soundtrack that puts you in the game.

Whoever was the game's creative director working

with this composer, holy shit, you nailed it.

The Metal Gear Solid theme is part action. It

makes you feel super patriotic. I'm serious.

After the show... Go look up the theme to Metal

Gear Solid 2 Sons of Liberty, and tell me that

doesn't make you feel proud to go join the military

or some shit like that. He does military themes

really well, or the stuff he did with Snake Eater

back in the 1960s. Another guy who does phenomenal

work is the guy who did the music for the Mass

Effect games. He pretty much works on anything

exclusively BioWare. His name's Jack Wall. And

the music for Mass Effect 2, especially the theme

for the elusive man, is one of the best themes

in video games hands down, I think. Also, the

guy who did... There were two composers who worked

on the one for Mass Effect 3, whose name completely

escapes me. Also, Bioshock Infinite, had a fantastic

soundtrack to it. And finally, bringing it back

to The Last of Us, the guy who did the music

for that Gustavo name I can't quite pronounce.

uh fantastic also this is a really surprising

one talking about kind of licensed songs um but

they're not really the guy his name is jamie

some i can't remember his last name off the top

of my head he did the music for metal gear revengeance

uh this past year or sorry metal gear rising

revengeance and every boss had their own theme

and it's just i i wish i had more elegant words

for this but it's so goddamn cool Like seriously,

it's so Merrill Mike I think even you might dig

it because it's just it's this rock power soundtrack

and it's just It's fucking cool. That's all I'm

gonna say video games get so overlooked For this

from a lot of people and there's just so many

good soundtracks like like you mentioned assassin's

creed For with uh brian tyler. I know that'll

be good the resistance soundtracks, uh Jamie

christopherson is the one you're thinking. Yeah,

like seriously, holy shit I was so blown away

like I would literally do boss fights over again

just to listen to it That says something and

uh the guy who did uh halo marty o'donnell The

best soundtrack in that series is Halo ODST,

masked by maybe Reach in terms of what he does.

I'm trying to think of what... Oh, this will

be the last thing I'm going to talk about. There's

a nerdy heavy metal group called Power Glove.

They did the soundtrack basically take every

1980s sci -fi movie with like the fucking neon

and shit and stupid words like Rex power cold

and cyber this and cyber that it looks like you're

fighting Daft Punk the entire game It's called

the Far Cry 3 blood dragon That I promise you

will get nominated later on this year for soundtrack

of the year It is like every 80s metal sci -fi

cliche you can imagine and it's glorious. Far

Cry 3 Blood Dragon, is that a new game? It is.

It's actually a downloadable title. It'll take

you about six to seven hours to clear. Is it

part of Far Cry 3 or is it something separate?

It's using something separate. It's basically

using the Far Cry 3 engine. And it's an official

downloadable title from Ubisoft. And Michael

Bean, who plays Hicks from Aliens, Kyle Reese

from The Terminator, and many other action movies

you've probably never seen, he's the voice of

Sergeant Rex Power Culp. And it's amazing how

much a soundtrack like that makes the game. Like

the soundtrack, literally, I mean, the gameplay

is fun because it's so stupid, but the soundtrack

sells it because it's like, I am so goddamn confident.

I'm going to walk in that room and rock your

face off. That's Far Cry 3 Blood Dragon. And

that's the power of video games over, say, movies

because it's participatory. Oh, yeah. Yeah. Going

back to really quickly. I know I keep bringing

him up but going back to Brian Tyler no matter

what Anyone says oh my god Michael Bay is and

is do is producing Ninja Turtles apparently according

again take with a grain of salt It's listed on

Wikipedia that Brian Tyler will do the music

for the new Ninja Turtles film. It might work

actually yeah it might work he he was also recently

announced that he's gonna be doing Thor the dark

world have you seen now you see me yet Mike I

have not I want to though he's on that really

where I first like really found him was like

fast and furious and fast five but what I really

latched on to him was transformers prime yeah

uh... transformers prime is to this generation

as to what bt as was in nineteen ninety two because

transformers prime it basically employees i don't

know if this is a fact that sounds like they're

they're using full orchestra for a cartoon television

series just like they used to do in the old days

with batman animated series and the music for

that is so good so good All right, Dan, I know

Mike and I have been going on and on and on.

Was there anything else you wanted to bring up?

I guess one overlooked aspect of scores too is

knowing when not to use it, like knowing when

not to score, using like kind of silence and

how effective that can be. Because I think that

you have a tendency, certain directors have a

tendency to over score. Spielberg, for example,

is very keen on over scoring and using a score

when it's not needed or just be like. highlighting

an emotional beat that doesn't need it. But I

think that's an effective portion to a proper

score is using it at the right moments. Because

you think of something like Omaha Beach Sequence

and Savior Private Ryan and how there's no score

to that whatsoever. It's just all sound effects

and all dialogue. And I think that is... It works

with that situation. Yeah, it works that in there

and just how effective that can be when you have

no score whatsoever So I think there's it if

you use it in the right moments. I think that

can also be really effective Now I can name you

one example That will show you the the problem

of over scoring and you're all gonna laugh at

this because you'll recognize it as soon as I

say it I want you to take yourself back to 1991.

Oh, crap. And save by the bell. Think about the

music in that show and realize just how that

music tries to tell you how to feel and how laughable

it really is. And see, the funny thing is, all

is I ever remember from that as far as music

other than the actual theme song. Was that fucking

Sting or whatever? Well, that, but like the intro

and outro, the like the scene cut music, like.

Like when you open the scene and there's a little

bit of music and then, you know, Zach starts

monologuing. That's really the only music I ever

really remember from being actually inside the

show of Saved by the Bell. There is one piece

of music that I love and you're right. It's almost

the scene ending. It's the Saved by the Bell

music that plays whenever they get bad news or

whatever. And it's that fucking horn, because

you don't know how to feel. You could put that

music into anything, like Screech's head has

exploded, da -da -da! Zach just had sex with

Kelly, da -da -da! And I love it when television

shows overscore, because it gets so goofy. I

mean, even Star Trek The Next Generation, for

all the... awesome storytelling it's done and

being a pioneering show in sci -fi television

it's had moments like that too where it's like

this didn't need this just tone it down like

dan said let's silence and dialogue carry it

like let an emotional moment happen or you know

hey tasha yard just died here's sad music i know

she's dead covered by the goo monster One thing

I'll say before we go to another break and then

we'll close the show after that is You know you

guys are talking about this, you know the use

of silence and stuff Perfect example, and I think

they won an award for it Batman Beyond Shriek

the episode where he faces the Shriek and The

Shriek uses his sound things to basically turn

his volume up, but everything else down, so like

the car honks, the dog bark, everything fades

out and it's like, it's like you're in a tunnel

and it's all echoey, but there's no music whatsoever,

there's no real sound effects, there's no nothing,

but it's echoed sound and it's just so good how

they did that. Alright, we're gonna take a quick

break, you're gonna hear some quick ads and some

other stuff and then we'll come back with our

- Please play the Sabre the Bell music! We're

gonna go back after this with our top five soundtracks

and top five scores to close the show out after

this Before we close the show we're each gonna

go through our lists as a roundtable. We each

made a top five I'm just gonna call it favorites

for soundtracks and scores For me on the soundtracks

lists my soundtrack list changes Day to day because

as I said in the beginning of the podcast, I

don't listen to soundtracks front to back I listen

to maybe one or two songs here or there so my

list is ever changing. Dan, did you have any

honorable mentions or anything else you wanted

to bring up? Well, I guess just for soundtracks,

if we're doing that first, some that just made

my list, one that just missed, it was the soundtrack

for Slum Dunk Millionaire, which is a soundtrack

I really underappreciated until I kind of looked

at it as a whole and realized it was pretty strong.

I mentioned The Graduate, that just missed my

list, along with American Graffiti. Almost famous

and pulp fiction. Those are like some of my favorites

But I think I had other ones right now that like

like you that are more on top of my list now

Maybe a few days from now. It'll change but as

we sit here today Those just missed my list What

about you Mike any honorable mentions honorable

mentions, I'd like to point out grease and hairspray

because I think they're fantastic. I mean, I

don't like Grease the movie, but I like the soundtrack.

Hairspray, I love both. Kill Bill just missed

my list because I think another one I'm going

to pick is much better because it suits the scene.

Kill Bill feels very stylized. So I'd also like

to point out probably Get Shorty and Lion King

slash Aladdin. Cool, cool. Alright, for me, um...

I'll give an honorable mention to Spider -Man

2 because it does have a couple of songs that

I like. Like, it's got a song by Train on there

called Ordinary. It's got a song by Maroon 5

called Woman on there, but it wasn't, like...

It wasn't a soundtrack that I really, really

could listen to. all that much all right so number

five mike what is your number five pick for your

favorite soundtrack number five pick for my favorite

soundtrack is going to go to armageddon uh once

again it just it's solely totally sums up the

90s and it made aerosmith cool again it also

made bon jovi cool again mr big time What about

you Dan what's your number five my number five

is from a recent effort and that is 2009 Drive

which is directed by Nicholas woman and wife

and starring Ryan Gosling. It's a movie. I love

it's a movie all about style all about In the

use of the score is in the soundtrack is a big

portion of that film. There are songs in this

I wouldn't necessarily listen to you on their

own but the way they they're used in the movie

really strikes a chord with me. It's like the

perfect soundtrack to listen to while driving

on busy streets with your windows down so you

can feel cool like Ryan Gosling. Yeah, if that

was an American film, I might like it, but this

is technically a French film. I tried watching

it. I'm like... And that film specifically is...

It was mis -marketed to the people. The trailers

made it look like something that it wasn't, and

I... i watch them like yeah net uh... red box

on my dollar something back please my number

five is the spiderman motion picture soundtrack

from two thousand two just looking at this track

list okay you've got hero with chad kroger and

josey scott but other than that you've got a

exclusive track by default entitled blind you've

got korey taylor from slipknot and stone sour

with bother uh... green wheel you've got shelter

uh... three of a dead man invisible man actually

i pointed this out a long time ago two thousand

two early two thousand two when this movie came

out three of a dead man's invisible man that

was their lead single and that was the only place

you could hear them until their album self -titled

album came out later that year uh... so they

basically debuted on the spider -man soundtrack

uh... and jerry cantrell from uh... oh god uh...

no people are screaming at their ipods uh...

is it grateful dead i forget where is he from

uh... energy jerry cantrell as she was my girl

amazing amazing song alright so mike what is

your number four my number four soundtrack would

be just gotta bring up my iphone here uh... i'd

probably say probably see the matrix actually

once again it just completely it feels like the

movie listening to the soundtrack you feel like

you're all dressed in fucking leather and shit

you can jump through walls and stuff um and it

made it made history for this reason every but

when you hear the propeller head spy break song

you know exactly it's a matrix parody or it's

just it's the lobby scene whenever that song

plays In your mind, immediately guns jump into

the air, amazing stuff. What about you, Dan,

for number four? Number four for me, it comes

from Tom Hanks' first ever directorial effort,

which is That Thing You Do, which is a film all

about a one -hit wonder band. you know, rise

and fall of fame. And I love that soundtrack.

It's really great. I collected a collection of

songs that really represent that era and how

they were able to create this band in this like

the song of that thing you do, which I think

is an amazing song because it really feels like

it's like an old classic song that they're sampling.

But really, it's brand new and created just for

that movie. So and it and as a whole, there's

also some additional songs thrown in there that

were really used well in the film. So my number

four was That Thing You Do from Top Hanks. And

mine would be Serendipity from 2001, John Cusack

and Kate Beckinsale. This one has some pretty

interesting and really cool songs on it. It's

got an instrumental by David Gray called January

Rain. Anyone from the 80s who Houston like the

Eurythmics. It's got Annie Lennox doing a solo

song called waiting in vain It's got northern

sky by Nick Drake The one thing I was kind of

surprised that they didn't put on the soundtrack

maybe the record company didn't have the rights

for or not in the movie Hall and Oates's Sarah

smile plays several times so I'm surprised they

didn't put that on there but No serendipity was

a good film good music all all kinds of good

things Mike your number three. Uh, I'm gonna

say Ghostbusters 2 I just think it's a fun soundtrack

and it just It's just one of my favorites of

all time. It's the first soundtrack I got on

cassette, so that's the Nostalgia Glass is speaking.

But overall, it's just a good listen to from

front to back. It's never musically boring. And

that's what I like about it. What about you then

number three my number three it comes from 1983

and it is the big chill For those who don't know

what the big chill is It's a movie about a group

of college former college friends that kind of

get together after one of their friends dies

and the The soundtrack is full of classic Milltown

hits. It's in you know music that they would

have listened to when they were in college and

it's got everything from Smoky Robinson, The

Temptations, The Rascals, Marvin Gaye. It's a

great collection of Motown and I think it's kind

of a cheat because it's kind of like an all -star

cast in a soundtrack but it's also used really

well in the movie and it goes a long way with

the themes and the overall atmosphere of the

film The Big Chill. It's one of that I constantly

listen to. I've been listening to it since I

was a kid. That's yeah. Yeah, you want to talk

about stuff that goes well with a movie my number

three is uh And michael probably laugh at this

but uh 10 things I hate about you You know, it's

funny. My wife had mentioned the same thing same

with that thing you do It's a little weird that

you guys are on the same wavelength actually

Um, it's just one of those it's one of those

soundtracks that You look at it and it's damn

good. You know, you've got Semisonic who was

really big back then. You've got Save Ferris,

Sister Hazel, Jessica Riddle who was big back

then. You've got New World by Leroy. You've got

Atomic Dog by George S. Clinton. Come on, who

doesn't like Atomic Dog? You know, you've got

other stuff by Letters to Cleo. You've got the

instrumental called One More Thing by... Richard

Gibbs is just amazing, amazing. And again, like

Dan was saying with stuff that fits within the

film, every single song that's on the 10 things

I hate about you soundtrack fits in every, like

whatever scene the song pops up in, it fits so

well with the film. And I absolutely love when

films do that. Alright Mike your number two my

number two favorite soundtrack is I'm gonna say

I'm looking at it right now I'm gonna say pulp

fiction Because once again Tarantino like Dan

was saying this guy knows how to use music and

every piece that he picks means something and

It made that song girl. You'll be a woman soon

cool And I always picture Uma Thurman dancing

around with John Travolta or the scene where

they're in Jack rabbit's limbs once again beautiful

soundtrack really really well done and ultimately

just fucking cool All right, what about you Dan

number two my number two I do for some reason

there's been a lot of hate for this movie recently

and I really don't understand why a Lot of people

call it the hipster version of Annie Hall, but

I I guess I don't really see it and that's 500

days of summer It's a movie. I really like and

again, it's music. I necessarily wouldn't have

caught on with me if I didn't see the movie.

Some songs that kind of stick out to me are Sweet

Deposition by The Temper Tamps, The Smith Songs,

even has, you know, Hall & Oates, Simon Garfunkel.

To me, it really reminded me a lot of the soundtrack

for The Graduate and it's kind of an updated

version of that in a lot of ways. That's basically

it's also one that kind of got me back in the

soundtracks when it came out. So My number three

was 500 days of summer Number two, I'm sorry.

I can count. I public education. I cannot because

I'm a broadcaster and we don't do that Oh, come

on. Every now and then I get to pick on some

other Canadian other than JT from Saskatoon.

It was like, we just finished the International

Space Station mission. Give us some credit. Wait,

I thought that was Russia. Nope. That was Commander

Chris Hadfield. OK. For number two, for me, this

should be no surprise. This is where I started

seeking out soundtracks. To see what my favorite

artists were putting out before they put out

new albums and as I'm talking about this I can

hear the gears going in Mike's head. I automatically

know what he's going to say And this is actually

a really funny story Valentine's Day 2003 I was

at the movies with my cousin and her and her

future husband because she was getting yeah,

this is so funny She was get they were getting

married the next day So we went. I flew up for

her wedding. Friday, February 14, 2003, we went

to go see Daredevil. And it gets to the bar scene.

In the movie, they slow it down, but I swear

to God, I heard Nickelback. And I'm like, I know

this, I know this, I know this, I know this.

the mall hadn't closed yet, I immediately run

to the FYE, the Sam Goody, Music Land, whatever

the music store was, and I looked at the soundtrack

and I'm like, hey, new Nickelback, awesome! I

don't care what anybody says, it's my tastes,

whatever, if you don't like it, fine, I don't

care. And I knew I was right, because I, at that

point, I had already heard two full albums from

them at the time, so I knew... Kroger's voice

and I was like, oh cool. And then I looked at

the rest of the soundtrack. You've got songs

by The Calling, Fuel, Saliva... Huba Stank? Huba

Stank, Seether, Nappy Roots, featuring Marcus

Curel of P .O .D., Drowning Pool, featuring Rob

Zombie, of course. For me, in 2003, Drowning

Pool after the death of Dave Williams, no thank

you. Chevelle, Evanescence, that's where they

got their start. Revis, 12 Stones had a bonus

track on there. So yeah, Daredevil, the soundtrack

album. It's pretty solid, I mean, overall. And

that pimp song they play when the fucking kingpin

shows up. That would be... Nerd or something,

whatever it is. I'm trying to think. Oh man,

what is that song? It's right now, the Nappy

Roots song. That's what it is. Alright, drum

roll please. The rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

during the song, but okay. It's just, it's such

a fun soundtrack. And even with Weird Al, which

seems completely out of place in that, it works.

It really does. And then hearing the work by

Vince DiCola, which is included on the soundtrack

with the Death of Optimus Prime, oh, spoilers,

the Statue of Limitations, and Unicron. Anything

past two weeks, screw spoilers. See, I'll give

you six months, but 20 years is a little much.

This is a little much. But yeah, it's so good,

and even the score by Vince DiCola works, and

he does some fantastic work and is underappreciated

in his time. Actually, I don't know if you, you

might know this since you're kind of on the pulse

with Stan and Vince, but Vince is actually working

on a full -on remastering, instrumental -only,

Transformers the movie score. That would be fucking

cool. Yep. because I I had seen it on his Facebook

page and I I had asked him I said are you are

we re -releasing this or what's what's going

on here and he said that no it's an all -new

brand new cut brand new you know remastering

of of the instrumental music only no song songs

All right. So what about you Dan? What is your

number one? Well, I'm number one. It's probably

gonna reek of nostalgia, but I don't really care

What are you gonna do? My number one is Top Gun.

It is the theme the first soundtrack I fell in

love with it's when I go back to constantly It's

one that's always it's been a running joke with

all my friends. We for a very long time in my

wedding we're gonna dress up in classic in a

dress uniforms for the for the airline For pilots

and saying take my breath away, but it never

never happened. Thank God for everyone specifically

specifically the The soundtrack I'm thinking

of is the 1990 special edition that added you

lost a loving feeling and Sitting on a dock of

the bay. I think it added just enough and it

just to me It's just like I mentioned the top

gun is in a lot of ways a music video Put together

like small bits of music video edited together

to one overall narrative and it's you know Tony

Scott He is always kind of on the post with things.

I kind of He can kind of see trends and kind

of jump on them before they happened. And I think

that happened with Top Gun. He was really ahead

of the curve when it came to the MTV generation.

And just overall, there's so many great songs

on it. Danger Zone, Lean On Me, Take My Breath

Away, the Top Gun anthem. It's one I go back

to. Yes, it's kind of corny, but I still love

it. Now that Mike brought up Transformers the

movie I can't believe I did not put it on my

list, but I did give I Did give a disclaimer

that my list does change? Very very often number

one on my list and again is gonna be one of those

things I was thinking like I was honestly thinking

live -action film I wasn't I wasn't thinking

animated film which is fine. We didn't really

put you know a limitation on it, but my number

one as of this moment is two thousands oh god

mike's gonna just groan when i say this two thousands

nicholas cage the family man that's an unusual

choice is a wise reason why i say this is if

you look at the track listing you've got original

song for the soundtrack by seal called this could

be heaven chris isaac's wicked game you choose

one uh i don't know how i got by which is an

original song for the soundtrack by edward mccain

You've got Talking Heads on here, Mr. Big. You've

got the main title, which was done by Danny Elfman.

Those several songs I listed are some songs that

I can always have in my playlist, and it was

just one of those things where I thought, oh

cool, that would be interesting to have that.

All right, do we have any... Honorable mentions

for scores Mike for scores. Let me see. Yeah

Any video game scores, I know we weren't focusing

on that I think would be highly on my list I'm

gonna say Marilyn Manson for Resident Evil Would

be so Resident Evil as a whole for a score and

that would be my honorable mention What about

you Dan? I have a few I didn't we didn't really

mention this in the overall interview overall

podcast, but some of the silent films, Modern

Times in general, if you think about how important

scores are, you really can't get more important

than the silent era films. Other ones that didn't

make my list, The Godfather, I think it's amazing

score, but it's just so iconic that I think it's

beyond my list. Triplets of Belleville, it's

similar to silent films because that movie is

mostly... Is that the anime? Yeah, it's an it

moves anime. I think it's believe it's I want

to say German I'm not sure but it's almost or

French I forget But it's or no, it's it's it's

French because it goes about the Twitter sort

of France It's all it's very little dialogue.

There's maybe only a few lines and it's all done

a lot through music and just through the animation.

And another one that just barely missed my list

came out last year, which is Beats of the Sun

and Wild. It's a soundtrack. When I first saw

the movie, I didn't really notice, but as I've

gone back and rewatched it, it's really struck

a chord. Really looking forward to see what Ben

Zeitlin does in the future, because I could see

him really becoming even maybe a more prolific

score or composer than he is a director. Also,

28 days later, I mentioned Hannah, Psycho, and

The Great Escape. Kind of a lot there, but there's

just a lot to choose from, so I'm sure there's

a billion I'm also forgetting. For me, it was

like, I know because of time constraints and

everything else, you wanted to limit this to

five, a piece as far as like how many, but. For

me in scores, I could easily fill a top 10, a

top 20, a top probably 30. Top five, again, consistently

changes for me, but as of right now, for honorable

mentions, for scores, for honorable mentions,

Jack Fry, and pretty much anything Trevor Rabin

does, there is one specific one that I do have

on my list by him, but pretty much anything that

guy does, I've enjoyed. He's just absolutely

amazing. So alright number five. What is your

number five Mike for scores number five for scores?

Um, you know, it's funny. I actually came in

this prepared for composers I thought we're supposed

to do that instead But suppose composer. Oh,

you mean you wanted to name the artist not yeah,

I was like, uh I'm gonna say probably Ghostbusters

one It would probably be my top five score. It

just makes the atmosphere of the movie fun, spooky

when it needs to be, but always consistently

quirky. So that would be Elmer Bernstein. This

man is the schiznit. All right. What about you,

Dan, number five? My number five is... Mike mentioned

it. Don mentioned it. when we're going over scores

with horror and John Carpenter and his amazing

work and how he scores his films. And probably

my favorite John Carpenter's score is from Escape

from New York. I love that theme and just love

how it fits within the movie. It's kind of the

electronic dystopian future that he creates with

that. He has a lot of great scores to choose

from, but for me the one that's kind of etched

out the most is Escape from New York. I try not

to... used one more composer more than once so

I had to try to pick one and that's the one that

I chose just barely over the thing which is another

great score as well. No I can already tell you

I have one composer that has two on my list but

I didn't like I said I could easily go through

Like Mike was saying earlier, he thought this

was composers, not actual scores, but like I

could go through a composer's filmography and

I like this, this, this, this, this. We'd be

here all night. But for me, number five is again,

as I mentioned earlier, uh, Trevor, uh, Trevor

Raven score gone in 60 seconds. Okay. No matter

what you feel about that movie, no matter what

your opinion is of Nicolas Cage and his acting

or lack thereof, that movie's music. The music

and the scoring music was just amazing. It just

was. So, what about you, Mike, for number four?

I'm gonna say The Terminator. And I'm including

Terminator 1 and 2 in this because they're remarkably

similar. And that's Brad Fidel. I just love the

electronic of the first movie and then it evolves

in the second. So I'd like to recommend the composer

as opposed to scores, but if I had to pick one

movie it would be The Terminator. The Terminator

theme is badass. Terminator 2 theme is fucking

cooler and they get the endoskeleton in there.

It's just awesome. Brad Fidel, his themes are

fantastic. So The Terminator, that's my number

four. What about you, Dan, for number four? Well,

I knew I was going to pick John Williams. It's

kind of a given. So I was curious which one to

pick. Right now, on GeekCast Radio, I'm going

through all of Spielberg's films. So with that,

I've been hearing a lot of John Williams the

last few months. I was trying to figure out which

one is my favorite and I came down to Close Encounters,

the third kind. There's a lot you can choose

from. Raiders of the Lost Ark, Jaws, really can't

go wrong. I think the reason I chose Close Encounters

is because of how important it is to the overall

flow of the film. What's interesting about that

score was it was made, usually a score is made

after a film is edited and used within the film.

But actually with Close Encounters, the score

was done first and then Spielberg edited a film

to fit the score. And I think you can really

tell because that Close Encounters really flows

like a song and that the score has really been

is a driving force, especially in the final climax.

So of all the scores I could pick for John Williams,

the one that kind of always sticks out, it's

always a little bit unique compared to all everything

else he's done was Close Encounters. All right.

For me in number four, I got to go with Brian

Tyler and his work on paparazzi. This film was

It's starring Cole Hauser it was produced by

Mel Gibson But the what Brian Tyler did with

the music in this is just absolutely amazing.

He made Granted they are in general, but he made

the paparazzi look downright really creepy and

dangerous The way that that film is portrayed

and the music just fits it so well It really

does. I highly suggest if you have not seen this

movie First of all go watch the movie and then

go listen to Tyler's soundtrack. It is just downright

badass All right, Mike number three number three

for me is um I'm gonna say hackers It just it

suits it man. It's so much fun and energies in

that soundtrack and like the voodoo people sequence

where they're both stealing the tapes for the

for the TV station, that's cool. And I don't

normally get into music like that, but yeah,

you're right. I mean, it's fun, and whenever

I used to listen to that and I'd be typing on

my good old Compact Presario, I remember I would

type so fast because the music just energizes

you. And it's a good licensed soundtrack that

isn't boring, it's fun, so that would be it.

All right, Dan, number three. Number three, it's

a movie that's the most recent on my list, and

that is for The Social Network and Fred Reznor's

score for that film. Yes! I think it's a score

that's, I think it's only going to gain an appreciation,

and I think of all the movies that have come

out in the last few years, it's, to me, it's

clearly the best score, and I think it, we talked

about the chemo, the... the score for Tritron

and how that's already had an impact on films

and I think this is the same way and it's I just

I think it really It's a huge aspect of the social

network, which I think more and more is really

a masterpiece. And I think it's going to only

grow. And a big portion of that is because of

that score. And I love what Trenton Reznor is

doing and how he's with his movie career so far,

even with a girl with a dragon tattoo. So it's

just a great score all around, unique. It's different.

Nothing else really out there like that. So that's

my number three. Actually, Mike, can I go back

and change my things? I just realized I answered

the question wrong. Which question the one you

just asked? What's my favorite score? I'm like,

hey, that's not a score. That's a soundtrack.

You silly idiot. Oh Jesus Christ. Don't worry.

Don't worry first. It's Microsoft now. It's Mike

Dodd backpedaling That is what I'm doing. I am

an analyst Tron legacy that is it for number

three number three because once again I could

even reference the hackers thing because that

music made the movie come alive and electronic

music when used properly can be utterly fantastic

to a movie. And then you'll definitely see the

influence in my number two pick when I go to

that one. But yeah, I mean, Daft Punk with Tron

Legacy painted this awesome digital soundscape

that makes the movie in a weird kind of way.

It's probably going to get flackless. So, feedback

on this one, geek .net. I really think Daft Punk's

music for that movie was actually timeless because

it suits the movie. Now, the movie - It's specific

to the film, yes. Yeah. And it's not any one

thing or this is hip right now. The only thing

that'll date that movie really is the Journey

song, which is the coolest song in the history

of mankind. Yeah. See, that's the thing that

like - that isn't on the sound like the soundtrack

is just daft pop yeah it's not you know and i

think they did that perfectly well which is good

which is good yes the movie itself does have

a journey song in there it does have um oh god

the your rhythmic song um sweet dreams are made

of this yeah it has the it has that 80s stuff

in the movie but in the context of the movie

you can listen to The daft punks punk stuff for

Tron legacy outside the movie and still feel

like you're in the movie It's all backwards,

but really quick for we move on to my choice,

you know, Dan You're talking about the social

network what Trent Reznor did with that first

track hand covers bruise I those beats in that

first of all it makes the movie look creepy even

though it isn't just the sound in that very first

track on that on that score is absolutely amazing

all right my number two actually no my number

three it's funny we were just talking about it

tron legacy what more can can you really say

You know, I've kind of already said it. It's

it's a package deal with that movie. And I remember

I think it was derezzed was the like the first

track that I latched onto that I listened to

that endless loop. Now, have you heard the remix

album? Yes, I have. I guess I liked it. It was

kind of cool. But again, for me, it goes to what's

in the film. You know what I mean? And that's

why I kind of like the main film score better.

But the remixes were kind of cool. All right.

Number two, Mike. Number two for me is RoboCop.

And that comes to me from Basil... Damn, I can't

quite pronounce. Poliduce or whatever? The sound...

I love how... The theme to this movie. Holy shit.

I feel like I am fucking Alex J Murphy and I'm

following my four prime directives that brings

such a nostalgia Swell in me and this guy's done

some pretty cool soundtracks over the years.

I mean he did Hunfer Red October free willy.

It wasn't bad The blue equals. Oh, yeah, the

movies are fucking stupid and the barbarian and

just Every time I hear the RoboCop score, I know

what scene it is. I know what emotional weight's

given to that scene. And it's just so cool. That

percussion. My God, I'm going to listen to this

as soon as we're done. All right. Dan, number

two. My number two. One of my favorite genres

is crime noir. And one of my favorite noirs is

the. is L .A. Confidential, and I love Jerry

Goldsmith's score for that film. It's a great

homage. You know, you're taking this classic

composer who's been around for generations, and

it's perfect for, you know, the L .A. Confidential,

and that movie is so, like, thick with style.

It is a movie that is... takes everything that

I love about classic noir and updates it but

still is respectful and still does it in an interesting

way and it's one I constantly listen to and it

does what a good noir score should do and really

adds to the atmosphere of the movie and like

it has this kind of like foggy mystifying this

to it it's kind of hard to quantify but yeah

I love I love Jerry Gulesmith I think he's one

of the more unappreciated composers. And of all

of his scores, I think that's probably my favorite.

My number two is Hans Zimmer, The Dark Knight.

First of all, what he did with the Batman themes

on that score and what he did with the Joker

music is just amazing. I don't know how else

to put it, honestly, because there's Awesome

amazing wonderful cool. Just it was just downright

damn good music and Just the whole overall tone

of the film of the music of the score along with

it the Dark Knight Hans Zimmer my number two

it just It was just so good Alright again drumroll

Mike what is your number one? James Horner and

aliens this soundtrack is amazing. I said the

military percussion for for the Marines, that

sense of isolation and loneliness with like Ripley

and then just all the action beats. Holy shit.

And then the final music with the fight between

Ripley and the power loader and the Queen. And

then finally, as the movie goes in the credits,

it's soft, it's somber. I love it. Aliens hands

down and James Horner favorite score of all time.

Of all time really you're going out with it.

It's like I like after this I'm gonna go watch

aliens and robocon back -to -back I'm not gonna

sleep tonight, and I'm just gonna revel in the

sound in my headphones All right, Dan, what is

your number one? My number one comes from Enio

McCourney. You know, people know him from his,

like, one of the all -time greatest scores of

all time, The Good, the Bad, and the Ugly. He's

done a lot of great work with Sergio Leone. And

the score that I think that I love the most is

Once Upon a Time in the West. It's my favorite

western of all time. It's a movie that is really

not for everyone. If you... If you don't like

the first 15 minutes of Once Upon a Time in the

West, just get out then, because it's not going

to get much quicker than that. Sergio Leone is

great at using music to add to characters. And

Once Upon a Time in the West is a perfect example

of that, when you have a character like harmonica

played by Charles Bronson. There's not much dialogue

and how I keep a component to like adding tension

has always been His use of score and Ennio McCartney

is one of the best at doing that And I while

the once upon a time in the West score may not

be as iconic as a good the bad and the ugly I

think it's just as good and for me. It's one

of my favorite I'm not huge into Western genre

It's one I really need to know more about but

of all of my the scores that I go back to once

I feel or not only great, but ones I really appreciate

and can listen to, it's that one. So, my all

-time favorite score. What I find funny about

the GC Heron crew is, at least, I mean, Mike

is this week in geek and all that, but with the

GC Heron crew, out of the three of us that are

here tonight, Dan is the youngest, and yet he

is the most old -school film buff I know. See,

I really appreciate... that about you Dan you

really bring a real sensibility like you really

bring a film appreciation so my hats off to you

sir he does he does that very well all right

for me and number one I couldn't stop listening

to this as soon as I bought it as soon as I get

out of the theater this year I just couldn't

it for me this this score this film it's is showing

you a side of a character that we had not seen

before because of almost getting sucked through

a wormhole in the biggest blockbuster of 2012.

Number one for me is Iron Man 3 by Bryan Tyler.

Iron Man 3 itself, the film, is... This isn't

the happy -go -lucky, you know, drinking, you

know, suit -fighting drunk Tony from Iron Man

2, or even the charismatic carefree guy from

Iron Man 1. After Avengers, shit happened to

that guy, and shit fucked him up, and... I even

read an interview with Brian Tyler and he said

that Shane Black approached me and said that

the character has gone through all this stuff,

we want the music to reflect that, we want it

to be dark and somberish. The only really upbeat

music in this score is the main title at the

end of the movie called Can You Dig It? That's

really the only upbeat music in this entire thing

and the rest of it is just amazing amazing composing

by Brian Tyler is just absolutely awesome and

I I remember when Iron Man 3 opened that entire

all weekend from that Friday to that Monday as

soon as I get out of the movie and I bought the

score on iTunes I was listening to it non -stop

every time I was sitting here at my computer

it was the only thing I played for 72 hours straight

Well, not that's a little excessive don't get

my point All right, so Mike, what have you got

coming up over on ThisWeekInGeek .net? You guys

are going to Con Bravo again this year up there

in Canada, right? Yep. It's going to be Con Bravo,

which you can still pre -reg, depending on when

this episode airs. We're going to be doing panels

for role playing. I might be playing Dungeons

and Dragons with Commander Shepard himself, Mark

Mir. Also, new episodes of Last Exit the Ponyville,

still doing a Future Imperfect with Steve Moore.

These warriors are terrible. Is going through

some pretty big changes coming up in the next

little bit as soon as I can say more I definitely

will So also still doing review a day and blustered

thumbs net so sure to check me over there and

other than that Your mom that is what I'm doing

right now Going on over at geek cast radio Dan.

Well right now I I mentioned earlier I'm going

through all of Spielberg's films doing reviews

and some retrospectives I think the last one

to go out Well, probably by this time all the

way up to Raiders of the Lost Ark ET should be

out by now going all the way up to all the way

to warhorse this last film and then also just

You know see some reviews from some current films

probably the next one world war z from the big

summer films and as well As some other things

coming down the line and if uh Your big score

Stacey fan. Hopefully this summer. I'll be doing

the same thing for him or this fall I should

say I don't know it's it's late. I barely know

what time it is. Yeah, I know So also coming

up for this for this week in geek holy crap.

I don't run that damn Canadian thing For geek

cast radio. We've got our next spotlight here

in my I'm gonna be handing the reins over to

Steve Megatron And he's going to be doing a certain

spotlight where he will be boldly going places.

And also coming up over at Geekcast Radio, I'm

still doing comic book written reviews. Our comic

book podcast has pretty much taken off. We've

got 21 episodes out at this point. The He -Man

show, Tales of Eternia, we've got 16, 17 episodes

of that out where Optimus Soul and I review All

the episodes from the original He -Man cartoon

from the 80s, check that out. TV's Mr. Neal and

I have teamed up for pixels in the animation.

We are reviewing every single episode of nine

different video game cartoons and right now we're

just launching the show with episode one, the

first six episodes of Super Mario Brothers Super

Show. So yeah, that's going to be a huge undertaking.

We hope you enjoyed the Soundtracks and Scores

episode for M -Wire. And join us next time when

we will be trekking different places. For now,

I am TFG1 Mike with... ...Movie Revolt Dan. Mike

the Birdman Dodd. Keep those film reels rolling.

We will catch you next time. on the show, there

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it. Happy?