In this week’s episode, Justin discusses “Triple Threat” John Carpenter and his incredible score to the iconic 1978 slasher film, Halloween.

In this week’s episode, Justin discusses Christopher Young’s unique versatility as a composer, blending beautiful melodic motifs with experimental textures in Sam Raimi’s 2009 supernatural horror film, Drag Me to Hell.

In this week’s episode, Justin talks about John Powell’s uniquely melodic and distinct score for Paul Greengrass’ The Bourne Ultimatum, specifically with a theme performed on the bassoon.

In this week’s episode, Justin talks about Harry Gregson-Williams’ incredibly dynamic score that combines electronic, orchestral, and ethnic themes for Tony Scott’s 2001 American spy film starring Robert Redford and Brad Pitt. After watching this episode, one will gain an appreciation for the wide range of composing styles Gregson-Williams applies not only to this film, but his entire repertoire.

Justin talks about Dave Grusin’s piano-driven score to Sydney Pollack’s 1993 crime thriller, The Firm. The film earned two Academy Award nominations, one being Best Original Score.

Justin talks about Alan Silvestri’s Oscar-nominated beautiful and timeless score to Robert Zemeckis’ Forrest Gump, which won six Academy Awards including Best Picture.

Justin talks about Randy Newman’s epic and unforgettable score to one of the most iconic baseball films of all time – The Natural. Directed by Barry Levinson and starring Robert Redford, the 1984 sports film was nominated for four Academy Awards and one Golden Globe Award.

Justin talks about James Newton Howard’s dynamic, fun, and jazzy score to one of the most riveting thrillers of the early 90’s – The Fugitive. Directed by Andrew Davis, the 1993 American action thriller film was a major success, and was nominated for seven Academy Awards including Best Picture.

Justin talks about David Arnold’s emotional, fun, and Grammy-winning epic score to Roland Emmerich’s 1996 American science fiction action film, in their second collaboration after Stargate.

Justin talks about Wendy Carlos’ eerie and haunting synth score to the Kubrick masterpiece, The Shining, which would be the second collaboration between Kubrick/Carlos. How does the use of this synth create a sense of dread? How would that compare to a melodic and symphonic theme in one of the most iconic scenes in the film? Watch the episode to find out and watch the scene!

Justin talks about Bill Conti’s Academy-Award winning score to Philip Kaufman’s epic historical drama, The Right Stuff, and how Conti’s specific use of synth and SFX really captured the tension and ultimate freedom of Chuck Yeager’s unforgettable flight in the Bell X-1 that broke the sound barrier. The Right Stuff would receive eight Oscar nominations at the 56th Academy Awards, four of which it won including Best Original Score!

Justin talks about Basil Poledouris’ epic score to Verhoeven’s satirical military science fiction action film – specifically about the opening scene which contains a unique blend of a military march with a hint of comedy. This would be incredibly unique to the satirical dark humor present throughout the film.

Justin talks about John Barry’s very memorable and iconic score to You Only Live Twice, the 1967 Bond film starring Sean Connery. This would be the fourth 007 film Barry scored in the franchise. Justin talks about a specific scene in the film which contains a very distinct style of composition by Barry that gives it a sense of weight and sighs through big brass chords and melodies with minor ninths that were distinct to Barry’s composing style.

Justin talks about the specific elements of Elman’s score that make it incredibly fun, unique, and how it would ultimately lay the foundation for the Elfman/Burton collaboration over the next three decades. Elfman has continued to define himself as one of the true masters of the film scoring craft, and has left a legacy of great music not only from his time as the frontman of Oingo Boingo, but in the overarching cinematic universe.

Justin discusses what makes Newman so unique as one of the most prolific American film composers today, and how he uniquely composes beautiful themes over a very emotional and intense scene with dialogue. Coming from a very long line of famous film composers within the Newman family, Thomas Newman is one of the most creative and unique composers working in the industry today, and Meet Joe Black is considered to be one of his finest scores.

Justin talks about The Ten Commandments, the 1956 epic drama film produced, directed, and narrated by Cecil B. DeMille with its legendary film score composed and conducted by Elmer Bernstein. Justin dives into the instrumentation and specific instruments used in the score, in addition to talking about specific nuances heard in the scene when Moses (Charlton Heston) crosses the desert alone.

Justin talks about City Slickers, the 1991 western comedy directed by Ron Underwood with music by the legendary Marc Shaiman, and the moment when he was inspired to utilize a specific genre of music in a scene that still needed music – a moment in the film that turned out timeless, fun, and musically unforgettable. Marc continues to be one of the most talented composers out there today, and this example is one small element of his creative repertoire. As always, in the film clip mentioned...

In this week’s Episode, Justin talks about an intriguing study of character and its relationship to music in one of director John Huston’s most iconic films – The Treasure of the Sierra Madre (1948), with music composed by Max Steiner. Both Huston and Steiner were masters at capturing the important moments and thoughts that defined each character on-screen, and Justin breaks down how exactly this unfolds and is presented musically. As always, in the film clip mentioned above, we have...

Justin talks about one of the most iconic films and scores ever made – Ron Howard’s Willow (1988), with music composed by the late James Horner. From Shakuhachi flutes, guitars, and various thematic elements, Justin breaks down a specific scene and talks about what makes it musically and thematically important, while bringing back a bit of 80’s nostalgia! In the actual film clip mentioned above, we have carefully edited out the SFX to focus on the score, interweaving sound effects where...

In this week’s Episode, Justin breaks down the versatility and genius behind one of Debney’s most timeless scores during the opening credits. From the brass, vocals, violins, and woodwinds, this beautiful cue is something not to be missed. In the actual film clip mentioned above, we have carefully edited out the SFX to focus on the score, interweaving sound effects where appropriate. Enjoy! Academy Award nominated John Debney is considered one of the most prolific and successful composers in...

Welcome to the first episode of Film Music Fridays, narrated by CineConcerts President & Producer (& conductor) Justin Freer! These bi-weekly videos will be part educational, fun, and shed some light as to why we believe film music, and its corresponding relationship to the moving image, is one of the most unique and inspiring music genres in our history. Some of you may not know that Justin himself studied under the iconic score composer Jerry Goldsmith, and since we have Rudy in...