This week on The Score with Edmund Stone, A Conversation with Michael Giacchino. We’ll talk with one of the most acclaimed composers working in Hollywood today. Michael Giacchino has scored films including Up, The Incredibles, JJ Abrams’ Star Trek and the upcoming Jurassic World on the next edition of The Score.
This week on The Score with Edmund Stone, An Animated Christmas. We’ll sample music from some of holiday-themed animation, including Arthur Christmas, The Polar Express and How the Grinch Stole Christmas on the next edition of The Score.
This week on The Score with Edmund Stone, A conversation with John Debney, composer of the Oscar-winning score to The Passion of the Christ. We’ll talk about his work on that film, as well as Iron Man 2, Predators, and literally dozens of others on the next edition of The Score.
This week we focus on scores that are based in part on well-known classical pieces. We’ll hear variations on Tchaikovsky, Henry Purcell and more, in films including The Black Swan, and Pride and Prejudice on the next edition of The Score.
The undead are more popular than ever. This year’s Halloween Show features music from vampire films, including The Twilight Saga, Nosferatu, Dark Shadows, and of course Dracula on the next edition of The Score.
Music from films about bold and brilliant acts of thievery. We’’ll hear music from heist films, including The Ladykillers, The Thomas Crown Affair, The Usual Suspects and more on the next edition of The Score.
When the journey is more important than the destination, we celebrate the great American ritual known as the Road Trip. We’ll hear music from films including Little Miss Sunshine, Sideways, Philomena and more on the next edition of The Score.
This week on The Score with Edmund Stone, Authors on Screen. We’ll hear great music from films about authors including Misery, Sunset Boulevard, Shakespeare in Love and more on the next edition of The Score.
This week on The Score with Edmund Stone, The Tartan and The Thistle. As the country prepares for an historic vote on independence from the U-K, we’ll hear music from films about Scotland, including Braveheart, Rob Roy, Local Hero and more on the next edition of The Score.
This week on The Score with Edmund Stone, The Scores of Sherlock Holmes. Scores from Sherlock Holmes adventures, from the classic Basil Rathbone series to contemporary versions starring Robert Downey Junior and Benedict Cumberbatch.
This week on The Score with Edmund Stone, Cars, A Love Affair. Americans love their cars and the movies made about them. We’ll hear scores from films including the Fast and The Furious franchise, Clint Eastwood’s Gran Torino and of course Pixar’s Cars.
This week on The Score with Edmund Stone, Music for Ancient Worlds, how film composers have imagined the music of ancient civilizations. We’ll hear scores for films including Alexander, The Ten Commandments, and more.
This week on The Score with Edmund Stone, Summer Blockbusters. They’re designed to have mass appeal, and earn lots of money. And sometimes, they also have terrific scores. We’ll hear music from Summer Blockbusters, including Godzilla, Dawn of the Planet of the Apes, Maleficient and more.
We talk with British composer Carl Davis about his scores for classic TV series like Upstairs Downstairs and Pride & Prejudice, and his compositions for silent films from the 1920s including Ben-Hur, Napoleon, The Phantom of the Opera and more.
This week on The Score with Edmund Stone, Prequels. Music from films that provide the back-story. We’ll hear scores to prequels, including The Phantom Menace, Rise of the Planet of the Apes, Oz the Great and Powerful and more.
This week on The Score with Edmund Stone, A Conversation with John Ottman. We talk with John Ottman about his work as both composer and film editor. We’ll hear his music from films including The Usual Suspects, Valkyrie and X-Men 2.
This week on The Score with Edmund Stone, Rejected Scores. Part two of our show about rejected scores, including Alan Silvestri’s music from Mission Impossible, and the unheard original score for the movie Troy.
They’re loving and kind and caring, most of them, anyway. On this show, music from films about truly terrible mothers. We’ll hear scores from the Manchurian Candidate, Mommie Dearest and, of course, Psycho.
We’ll hear excerpts from this year’s Oscar-nominated film scores: The Book Thief, Gravity, Her, Philomena and Saving Mr. Banks. We’ll also talk to some of the nominated composers including Alexandre Desplat and Thomas Newman
Our guest is conductor John Mauceri, who helps us celebrate Valentine’s Day with music from his CD Always and Forever with the Hollywood Bowl Orchestra. We’ll hear romantic film music including excerpts from The Age of Innocence and An Affair to Remember; plus a rare recording of Erich Wolfgang Korngold playing one of his scores…
They may not be household names, but orchestrators play an important role in the development of a film score. We’ll talk with Dave Metzger about his craft and his work on Frozen, The Avengers, Kung Fu Panda and more.
The late Peter O’Toole was one of the most versatile actors in film history. But he’s perhaps best remembered for his work on sweeping historical dramas like Lawrence of Arabia and The Lion in Winter. We’ll hear some of the music that helped make O’Toole’s classic performances so memorable.
This week on The Score, with Edmund Stone: there's something in the water as we enjoy moments and music from Erin Brokovich, The Shape of Water, Jaws, The Creature from the Black Lagoon, The Water Horse and more. Due to All Classical's spring fundraiser the show will not be on the air at the normal 2 pm time this Saturday, 3/17, but you can still listen to the show on our Audio Archive starting at 3 pm. player.allclassical.org/archives/... See MoreSee Less
The parallels between the new “Tomb Raider” and Indiana Jones” are ever present and in some scenes lifted directly from “The Last Crusade” but if you are going to copy, do it from the best.
Based on a successful series of video games, specifically the 2013 reboot, Tomb Raider, starring Alicia Vikander (“The Danish Girl” and “Ex-Machina”), brings a Lara Croft to the screen that is more believable with greater depth and humanity. Although the story line is predictable, there’s much to admire about this film from Vikander’s portrayal to the gritty special effects - especially a terrifying shipwreck scene - a twist or two along the way, and a percussive score by Tom Holkenborg (“Mad Max: Fury Road”).
Where this “Tomb Raider” differs is its back story, emphasizing the connection between a young Lara Croft and her beloved explorer-aristocrat father, Richard. She may have been born into privilege but she wants none of her father’s wealth and global empire as she forges her own life on her own terms. Refusing to believe her father is dead, she unravels the intricate clues he left behind and continues his maniacal mission to beat the mysterious Trinity organization in a race to find a cursed tomb. The supporting characters are somewhat formulaic, and the plot sets the stage for more sequels. It’s not original, but it is good “popcorn entertainment” and you don’t need to be familiar with the video game to enjoy it.
In just three years Alicia Vikander has proven she has no problem playing strong characters. She won an Oscar as an illustrator/painter in “The Danish Girl” and then inhabited the role of a manipulative android in “Ex Machina”. She is now poised to become an even bigger screen presence. ... See MoreSee Less
Disney’s “A Wrinkle In Time” is an updated, visually sparkling take on the children’s classic by Madeleine L’Engle but it may leave audiences flat and fans of the children’s classic rather underwhelmed and disappointed. To be fair, director Ava DuVernay put a lot of effort and heart into updating the characters and tried to give the story a modern twist so today’s young audiences could relate more to the fable. But tackling a classic is a challenge for any director and updates risk abandoning the very things that made the book so beloved. For decades millions of young readers identified with Meg Murry, the geeky girl with glasses who is too smart for her own good, and her boy-genius little brother Charles Wallace as they went on a fantastical quest through time and space to search for their father. But the story line is nearly drowned out by Disney special effects that weaken the very messages that made the book so endearing – that love will triumph over darkness; the importance of family; and that each child has worth even when, or especially when, they don’t fit in. Meg, played by Storm Reid, is believable and likeable, as is Levi Miller as Calvin, the star athlete that befriends Meg. In his portrayal of Charles Wallace, Deric McCabe fails to convey the quirkiness of the character. Oprah Winfrey plays Mrs. Which, the lead in a trio of otherworldly guides collectively known as “The Mrs.” The movie shows Mrs. Which in her mentoring role to Meg but leaves out some of the most delightful parts of the character as it was written, most obviously neglecting to mention that she is more than two billion years old and was once a star but sacrificed herself in a war against the IT which is now threatening Earth – and holding Meg’s brother and father captive. The character of Mrs. Whatsit, played by Reese Witherspoon, is unfathomably changed in the script making her annoying rather than intriguing. Mindy Kaling portrays Mrs. Who, a being that speaks mostly in quotations, a character that was difficult enough to understand in the book and not made any easier to comprehend by the movie. The film version is fraught with holes in the story line, characters pointlessly changed and often left dangling in unfinished subplots, and The Mrs.’ wardrobes changed to the point of distraction. Although Ramin Djawadi’s music is at times very good, it seems his score overtakes the dialog at several points with muddled results. Yet with all its flaws, Disney’s “A Window in Time” may appeal to its targeted audience of middle-schoolers and hopefully inspire them to take up the book again. ... See MoreSee Less
This week on The Score, with Edmund Stone: we follow the leader with music and moments from such movies as Darkest Hour, Ghandi, Lincoln, Black Panther and more. That's on the next edition of The Score. Tune in to All Classical Portland this Saturday, March 10th, at 2pm. www.allclassical.org/... See MoreSee Less
I have twice had the personal and professional honor to work with David Ogden Stiers, hosting "Newport Symphony Goes to the Movies". Sharing the stage with such a great presence was a delight. David was personally invested in each of the pieces he conducted and brought his own flair to the music. When we were selecting the film music for the concerts he chose John Williams' theme to Steven Spielberg's comedy "1941". With a warm smile, he told me that when he was filming M*A*S*H in 1979, one day he crept into the recording studio to watch Williams conduct the "1941" score live, and he had loved it ever since. David was a great thespian, conductor and a genuinely gracious person. Through my work in broadcasting, music and on stage I know how challenging it is to bring all the elements together. When David Ogden Stiers took up the baton he made it look so easy - the mark of a true professional. Moreover, he made it fun for everyone involved - the mark of a great spirit. You will be missed. ... See MoreSee Less