Right up front I'll have to violate your rule about one track per composer since I don't believe I have 25 different composers in my admittedly small collection. So, with that out of the way, here are my choices....
1) GOLD The Enterprise from Star Trek TMP by Jerry Goldsmith 2) SILVER The Hand of Fate Part II from Signs by James Newton Howard 3) BRONZE The Land Race from Far and Away by John Williams 4) The Phorarhacos from Mysterious Island by Bernard Herrmann 5) Overture from Ben-Hur by Miklos Rozsa
6) Atlantean Sword from Conan the Barbarian by Basil Poledouris 7) The Reunion from AI Artificial Intelligence by John Williams 8) Rose fromTitanic by James Horner 9) Rooftop Chase from The Enforcer by Jerry Fielding 10) The Dream - Main Title from Total Recall by Jerry Goldsmith
11) End Title from Predator 2 by Alan Silvestri 12) Prelude and Main Title from Superman by John Williams 13) The Big Chase from Mad Max Beyond Thunderdome by Maurice Jarre 14) Wrath from Se7en by Howard Shore 15) Into The Hole from The Black Hole by John Barry 16) Break Out from Capricorn One by Jerry Goldsmith 17) Blade Runner Blues from Blade Runner by Vangelis 18) Desert Chase from Raiders of the Lost Ark by John Williams 19) Half an Equal from The Challenge by Jerry Goldsmith 20) Two Socks - The Wolf Theme from Dances With Wolves by John Barry 21) Klendathu Drop from Starship Troopers by Basil Poledouris 22) Prelude - Main Title from The Ten Commandments by Elmer Bernstein 23) The Departure from ET The Extra-Terrestrial by John Williams 24) The Battle of Yavin from Star Wars by John Williams 25) The Boot from Rambo III by Jerry Goldsmith
I don't usually "do" film music on a track-by-track basis this way, so this would be a Herculean task to me and kinda outta my league. But thanks for the Sakamoto tip! I'll have to echo Onyabirri -- do you have a link? I know he did a playlist for restaurants recently (that also included some film music), but I'm assuming that's not it.
These are what I just came up with. If I do it tomorrow, it will probably be different. And I also broke the rule and used composers more than once.
1. Bernstein: The Magnificent Seven Main Title 2. Bernstein: To Kill A Mockingbird Main Title 3. Bernstein: Walk On the Wild Side Main Title 4. Goldsmith: Rio Conchos Main Title 5. Goldsmith: Capricorn One Breakout 6. Moross: The Big Country Main Title 7. Moross: The Big Country The Welcoming 8. Moross: The Big Country The Major Alone 9. Howard: Signs Hand of Fate Part 1 10. Friedhofer: Between Heaven and Hell Main Title 11. Friedhofer: Between Heaven and Hell Desperate Journey 12. Williams: The Cowboys Main Title 13. Williams: The Reivers Main Title 14. Waxman: Hemingway’s Adventures of a Young Man Prelude 15. Waxman: Peyton Place Main Title 16. Steiner: The Adventures of Don Juan Main Title 17. Poledouris: Conan The Barbarian Main Title 18. Montenegro: Hurry Sundown Main Title 19. Montenegro: The Undefeated Happy Hour 20. Herrmann: The Ghost and Mrs. Muir The Passing Years/The Late Sea 21. Holdridge: Buffalo Girls: The Great Ride 22. Small: Comes A Horseman Ramuda 23. Small: The Parallax View Main Title 24. Rozsa: Moonfleet Prelude/Forword 25. Kraemer/Schifrin: Mission Impossible Rogue Nation The A400
Edit: Well, Hell, I have already thought of 10 more to put on here. Film music can't be narrowed down to 25 tracks.
I don't usually "do" film music on a track-by-track basis this way, so this would be a Herculean task to me and kinda outta my league. But thanks for the Sakamoto tip! I'll have to echo Onyabirri -- do you have a link? I know he did a playlist for restaurants recently (that also included some film music), but I'm assuming that's not it.
No, this was from a number of years ago. I wasn't aware of it until recently. Here is the link, although it is in Japanese, I used Google translate to find out which tracks he selected for his CD:
Yes, it's a great list. As I wrote in your twin thread over on JWFAN:
Cool shout-out to PIERROT LE FOU, my favourite Godard (even though Godard's tinkering with Duhamel's material left the composer baffled).
I'm surprised he picked a cue from Artemiev's STALKER rather than SOLARIS (opting to include the Martinez SOLARIS instead), since he's such a big fan of Artemiev's work on Tarkovsky's space sci fi. But maybe it's first and foremost Artemiev's Bach variations he's fond of. He goes into this in some detail in the brilliant documentary CODA, which everyone should see!
