by Charlie Brigden

VOL. 5  - July 18, 2018




Welcome to this week's Film Score Weekly, where once again we aim to give you all the news and gossip fit to print regarding the world of film music. Lots this week including news of a gorgeous new Goldsmith expansion, a preview of the late Jóhann Jóhannsson's final score, and a review of the latest MISSION: IMPOSSIBLE. Also, a big Hollywood composer burns their tea. Breaking news at its finest.



In an announcement suspiciously close to a new ancient Egyptian tomb being found, Intrada have dug up an amazing double-bill of new expanded editions for THE MUMMY (Jerry Goldsmith) and THE MUMMY RETURNS (Alan Silvestri). Both are incredible examples of late 90's/early 00's action scoring and are full to the brim, especially the latter, which missed the entire final act on its original album. Both are out now from Intrada.

After the sad news that composer Jóhann Jóhannsson passed away in February, it is at least a blessing that we get to hear his final work in the guise of MANDY. Directed by Panos Cosmatos and starring Nicholas Cage, MANDY is a revenge horror, and you can hear the track 'Children of the New Dawn' here. The soundtrack will be released by Invada and Lakeshore on September 14.

Following in the footsteps of Leslie Bricusse, Lionel Newman, Alexander Courage, and Richard Gibbs, Danny Elfman is to take the reins of the Pushmi-pullyu for THE VOYAGE OF DOCTOR DOLITTLE, which will see Robert Downey, Jr. as the titular doctor and a voice cast including Emma Thompson and John Cena. We'll find out how Elfman fares in April 2019.


MISSION: IMPOSSIBLE - FALLOUT - (Lorne Balfe, Paramount Music)

Your mission, should you choose to accept it, is to follow in the footsteps of Danny Elfman, Hans Zimmer, Michael Giacchino, and Joe Kraemer, not least dealing with the classic themes of Lalo Schifrin. Balfe's approach is fairly hard-edged, with the big booming ostinatos he's known for and the seemingly never-ending rising strings, but it's possibly his most accomplished film work. That said, it's never terribly interesting to listen to on its own, although it's nice to hear Schifrin's 'The Plot' quite a bit. His big treatments of the main theme are ultra-modern and don't quite come off, especially the finale version with choir. Interesting to see how it works in the film.

IMPULSE (Deru, Lakeshore) - Nice ambient synth score with Cliff Martinez overtones (the steel drum sound), if a bit generic for "dark electronic thriller score".

SHOCK AND AWE (Jeff Beal, Varèse Sarabande) - Intriguing and mysterious drama score, quite lovely in places but also somewhat cold.

CALIBRE (Anne Nikitin, Moviescore Media) - A wonderfully moody and emotional score with beautiful string work. A powerful experience.

FRIDAY THE 13TH PARTS IV & V Harry Manfredini, La-La Land) - You're never going to find super melodies in these scores, but they have tension and terror up the Ki-Ki Ma-Ma.

ROAD HOUSE (Various, Varèse Sarabande) - Not the Michael Kamen score but literally the music as heard in the, well, Road House. Mostly covers from folk like the Jeff Healey Band, but there are also two cuts from star Patrick Swayze. That's not a good thing.

PEE-WEE'S BIG ADVENTURE/BACK TO SCHOOL (Danny Elfman, Varèse Sarabande) - The classic score reissued on vinyl, interestingly enough a re-recording produced in London in 1986. I'm a loner, Dottie. A rebel.

HELLBOY (Marco Beltrami, Varèse Sarabande) - Also debuting on vinyl is the impressive comic book score, potentially Beltrami's best work. He's always reliable but rarely in this kind of form for me.



1922 (Mike Patton, Ipecac Recordings)


TOUCH SENSITIVE (David Holmes, Mosaic)
FLOWERS II (Arthur Sharpe, Silva Screen)
PUZZLE (Dustin O'Halloran, Sony Classical)​

August 3

DAWN OF THE DEAD (Daemonia, Rustblade)
LE CERCLE ROUGE (Éric Demarsan, We Release Jazz)
WESTWORLD: SEASON 2 (Ramin Djawadi, Sony Classical)

August 10

MIRACLE MILE (Tangerine Dream, Fire Records)

August 31

KIN (Mogwai, Rock Action)


More questions from our faithful readership - if you have something you want to ask, just send an email or hit me up on twitter!

Burning film questions? Best Rick Wakeman score? - Dan Whitehead

Ha. Ha. Ha. Famous cape-wearer Rick Wakeman has done a few scores over the years, including 1982's SHE with Motorhead's Phil Campbell and Justin Hayward from The Moody Blues, the 1995 Harry Palmer instalment BULLET TO BEIJING, and the 1975 Ken Russell picture LISZTOMANIA, which had Wakeman doing synth adaptations of Liszt's music as well as starring as Thor (really). But his best work is by far the score to the 1981 Tony Maylam slasher THE BURNING - it's a fab soundtrack. Still a crap joke though.

What scores are you most excited for the rest of the year? - Vikram

Hmm, I'd say definitely Jóhann Jóhannsson's MANDY, Michael Giacchino's BAD TIMES AT THE EL ROYALE, John Carpenter's HALLOWEEN return, Thom Yorke doing SUSPIRIA, and Ludwig Goransson's VENOM and CREED II. Oh, and Disasterpeace's UNDER THE SILVER LAKE, that should be great.

I would love you to discuss, fairly the issue that surrounded the M:I Fallout score. Nice to have a balanced view. - William

Okay, so this is in reference to a Twitter debate that had been going on between tweeters and soundtrack reviewers and composer Lorne Balfe regarding the recording and mixing of MISSION: IMPOSSIBLE - FALLOUT, where a couple of people expressed unhappiness with the final mix of the score. I think Balfe was helpful in explaining more, but it would be an advantage to have a larger view of the mixing phase of the score and how it's put onto album, so I'm going to try and speak to him and see if I can get that so I can bring something not only balanced but in a fair amount of detail. Watch this space...

There is a case to see in cd the score's Metropolis by Abel Korzeniowski and Carlos The Emperor by Federico Jusid? George

Yes, sadly neither of these scores have album releases. I would love a recording of METROPOLIS especially and I have emailed Abel, so we can see what happens. Again with Jusid, it would be great to have a release but maybe someone like Quartet will put it out - TV series do seem to eventually make it out. 


I'm far from the only film music writer around, and if I was it would not only be incredibly boring but also a terrible strain on my wrists. So I've curated this section to not only show off the great film music writing out there but also the variety of subjects that are being discussed. And if you have any pieces you think should be included, no matter how old, hit me up at the email address at the bottom.

Exploring the soundtracks of Martin Scorsese [Film School Rejects]

Karen Han discusses the duality in Hans Zimmer and James Newton Howard's THE DARK KNIGHT [Polygon]

Daniel Schweiger talks to Hildur Guðnadóttir about SICARIO 2 [Film Music Magazine]
The great legacy of Shoji Yamashiro's score to anime classic AKIRA [Japan Times]

Andrew Lockington tells Christopher Coleman about his score to RAMPAGE [The Annotator]


“I kept saying, it’s just a movie, it’s just a movie. It really scared the shit out of me.” - Jerry Goldsmith, after seeing ALIEN for the first time



So Lorne Balfe has proved he can score big movies and video games, but can he make a good sausage sandwich? The answer... is maybe. Balfe took some gentle mocking on Twitter when he revealed his great feast of a barbecue was just two sausages, but the best was yet to come. Finally revealing his masterpiece of cuisine, his final words on the matter were, well... "I managed to burn them."

À la Balfe.
And sadly we have to once again part ways. Thanks to everyone who has subscribed, and once again, if you have any suggestions or questions please feel free to either email me or hit me up on my Twitter account. Until next time... 
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