This week on The Score, with Edmund Stone, Star Wars: The Saga Continues. After months of anticipation and hype, Star Wars: The Force Awakens finally hits the theaters. We’ll listen to John Williams’ score plus music from the other six episodes in the Star Wars saga on the next edition of the Score.
This week on The Score, with Edmund Stone, A Carol of the Scrooges. An hour-long version of A Christmas Carol, narrated by Edmund Stone, with music from five different film version of the Dickens classic.
We’ll talk with the Coen Brothers go-to composer. Carter Burwell tells us about his work on films including Raising Arizona, Fargo and No Country For Old Men plus non-Coen films like Gods and Monsters and the Twilight saga.
This week on The Score, with Edmund Stone, A Conversation with Rachel Portman. English composer Rachel Portman was the first woman to win a Best Score Oscar, for the 1996 adaptation of the novel Emma. Edmund Stone talks with Portman about her work on that film and others, including Chocolat and The Cider House Rules.
This week on The Score, with Edmund Stone, Lost in Space: Houston, we have a film score. We’ll hear music from stories about people marooned in outer space. Music this week from Gravity, Interstellar, Apollo 13 and more.
This week on The Score, with Edmund Stone, Music for Zombies. Zombies are bona fide movie stars these days. We’ll hear scores from both recent and classic films about the walking dead, including World War Z, 28 Days Later, and the film that started it all: George Romero’s Night of the Living Dead.
This week on The Score, with Edmund Stone, another conversation from the archives, this time a 1979 interview with the Master of Suspense himself: Alfred Hitchcock. A previously unheard interview with the legendary suspense director, plus music from films including Psycho, Vertigo and North By Northwest.
This week on The Score, with Edmund Stone, A Conversation with Vincent Price. We dip into the archives this week, for a conversation with the late Vincent Price. We’ll hear music from the actor’s legendary horror films, and excerpts from our 1971 interview.
This week on The Score, with Edmund Stone, Women in Film Music. You may not know their names but you’ve probably heard their music; for films like Chocolat, Gladiator, and The Crying Game. We’ll highlight the work of the few women composers working in Hollywood, including Academy-Award winners Rachel Portman, Lisa Gerrard, and Anne Dudley.
This week on The Score, with Edmund Stone, Max Steiner, The Warner Years. We continue our survey of the scores of Max Steiner, who’s often called The Father of American Film Music. We’ll hear his music for films including The Big Sleep, The Treasure of the Sierra Madre and The Caine Mutiny.
This week on The Score, with Edmund Stone, Max Steiner, The Early Years. Every Hollywood composer working today owes something to Max Steiner. We’ll explore early scores by the man considered to be the father of orchestral film music, including King Kong and Gone With The Wind.
This week on The Score, with Edmund Stone, A Conversation with Patrick Doyle. On our next show, a conversation with Scottish-born composer Patrick Doyle about his work on Gosford Park, Harry Potter and the Goblet of Fire, and Kenneth Branagh’s Shakespeare films on the next edition of the Score.
This week on The Score with Edmund Stone, The Genius of Film Music. We welcome back conductor and film music expert John Mauceri to talk about his latest project, a CD called The Genius of Film Music on the next edition of the Score.
This week on The Score with Edmund Stone, Inside The Orchestra. We’ll hear from people who actually make the music you hear on film soundtracks. Edmund Stone talks with four musicians who play in studio orchestras including percussionist Don Williams, brother of composer John Williams.
This week on The Score with Edmund Stone, we’ll hear music from the scores of Sherlock Holmes including music from the classic Basil Rathbone series to contemporary versions starring Robert Downey jr. as well as music from the just released Mr. Holmes staring Ian McKellen.
This week on The Score with Edmund Stone, we’ll hear music from some of this summer’s blockbusters including music from Jurassic World, The Avengers: Age of Ultron, Minions, Pixar’s Inside Out and more.
Silva Records has just released a 6-CD set of scores from films made in Europe, Asia, and South America. We’ll hear music from The Last Emperor, Let the Right One In, Pan’s Labyrinth and more on the next edition of The Score.
This week on The Score with Edmund Stone, The Cold War. We’ll hear music from films set during the Cold War, including Dr. Strangelove, The Hunt for Red October and The Spy Who Came In From The Cold on the next edition of The Score.
The heartbreak and valor of the American Civil War has inspired filmmakers and film composers since the earliest days of cinema. Join us for music from films about the War Between the States, including Cold Mountain and Glory on the next edition of The Score.
He was one of England’s great orchestral and choral composers. But William Walton also wrote some of the 20th century’s best film scores. We’ll hear his music for the film version of Shakespeare’s Henry V, Hamlet, Richard The Third and more on the next edition of The Score.
This week on The Score with Edmund Stone, On the Beat. We’ll hear music from films about reporters including The Year of Living Dangerously, A Mighty Heart and Citizen Kane on the next edition of The Score.
This week on The Score with Edmund Stone, Underdogs, scores for films about unlikely winners. We’ll hear music for Rocky, Rudy, Little Miss Sunshine, The Lord of the Rings, and other films about underdog on the next edition of The Score.
This week on The Score with Edmund Stone, Remembering Mancini. Family members share their memories of the late Henry Mancini. We’ll talk with the composer’s son Chris and wife Ginny about his life, and his award-winning music for Days of Wine and Roses, Breakfast at Tiffany’s, A Touch of Evil and more.
We’ll learn about the legendary composer of classic scores including The Magnificent Seven, To Kill a Mockingbird, The Ten Commandments and The Age of Innocence. Elmer Bernstein’s son Peter is our guest on the next edition of The Score.
This week on The Score with Edmund Stone, Scores from Renaissance England. Including Erich Wolfgang Korngold’s score to The Private Lives of Elizabeth and Essex, George DeLaRue’s A Man for All Seasons and more on the next edition of The Score.
We’ll hear excerpts from all five Best Score nominees, and remarks by composers Alexandre Desplat, Johann Johannsson and more. From The Grand Budapest Hotel to The Theory of Everything, it’s Oscar time on this week’s edition of The Score.
This week on The Score with Edmund Stone, Love-Hate Relationships. We’ll hear music from films about love-hate relationships like The Painted Veil, Pride and Prejudice, The Taming of the Shrew and more on the next edition of The Score.
Composer/conductor Timothy Brock talks about his work restoring Charlie Chaplin’s live music scores to Modern Times, City Lights and more. He also shares his restorations of early scores by Camille Saint-Saens, Eric Satie and Dmitri Shostakovich.
Some of John Williams’ best-known music was written for blockbuster movies by Steven Spielberg and George Lucas. We’ll hear selections from Star Wars, Raiders of the Lost Ark, E.T., Saving Private Ryan and more on the next edition of The Score.
This week on The Score with Edmund Stone, Toys, Bugs, Fish and Monsters: The Music of Pixar Studios. Pixar Studios not only revolutionized digital animation, they’ve also commissioned some of the best film scores around. We’ll hear music from Toy Story, A Bugs Life, Finding Nemo and more on the next edition of The Score.
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