My Thoughts on: The Cannonball Run (1981)

Thanks to my parents, I grew up watching a lot of older films, including a lot of comedies of the screwball variety. One of these is a film that I enjoy to this very day, and that is The Cannonball Run, a film that is fantastic not just because it’s hysterically funny, but also because it’s based on something that actually existed. The Cannonball Baker Sea-To-Shining-Sea Memorial Trophy Dash was an actual (unsanctioned) race run five times between 1971 and 1979, and just as in the film, one team actually used an ambulance as their race vehicle.

Let’s start from the beginning: The Cannonball Run is based on the aforementioned real-life race and follows a gaggle of racers as they all seek to reach the finish line first by whatever means necessary. Aside from the comedic hijinks, this film is also notable for having an all-star cast, including such names as Burt Reynolds, Dom DeLuise, Dean Martin, Sammy Davis Jr., Jackie Chan (in his second Hollywood appearance), Roger Moore, Jamie Farr, and Farrah Fawcett, just to name a few. It’s not often you see so many stars in the same film at the same time, and it makes for hysterically funny comedy more often than not.


An additional comedic factor is how poorly thought out some of the racer’s plans to win are. For example, the team of JJ McClure and Victor Prinzi (Reynolds and DeLuise) light on the seemingly brilliant idea of racing in a souped-up ambulance (reasoning that no one would want to stop an ambulance running with lights and sirens on). However, the drawback is that wherever they go, people assume they’re the real thing and want them to stop and help people who’ve gotten hurt. Similarly, the team of Blake and Fenderbaum (Dean Martin and Sammy Davis Jr.) get the brilliant idea to disguise themselves as priests, not realizing that 1) priests typically aren’t seen driving in a Ferrari and 2) Blake is an incurable womanizer and…well, I don’t really need to explain why that’s a problem for their cover now do I?

The film jumps back and forth between a number of the racers as they make their way across the country, but the story largely focuses on McClure’s team (and their various misadventures). Several teams even have their own unique musical themes to let you know who’s who in a hurry. For example, Jamie Farr’s character (a ridiculously wealthy sheik), is made known by an almost obnoxious Arabian-like theme. And Roger Moore’s theme, funnily enough, is a riff on the James Bond theme (the filmmakers really couldn’t mention Bond by name so they spoofed the character in every way without actually uttering the Bond name).


Some trivia to keep in mind during the film:

-The ambulance driven in the film is the actual ambulance that appeared in the 1979 real-life Cannonball race (it didn’t make it however, as the transmission blew in Palm Springs, CA).

-Every time we revisit Roger Moore’s character, there’s a different woman in the car with him.

I really enjoy The Cannonball Run, and if you haven’t seen it before, you definitely need to check it out, it’s really funny (and they just don’t make movies like this anymore).

Let me know what you think about The Cannonball Run in the comments below and have a great day!

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My Thoughts on: Transporter 3 (2008)

*warning, minor spoilers for Transporter 3

All too quickly I reached the end of the original Transporter trilogy with Transporter 3. Unlike the other two, I went into this one with a warning. I’d been told by more than a few people that I should avoid this film since it was a step down from Transporter 2. With that thought in mind, I dove in to the film…and was pleasantly surprised.

Perhaps I please far too easily, but I enjoyed Transporter 3. The action has moved back to Europe, Statham is on point as always, and this third entry presents a dangerous wrinkle to the “transport the package from point A to point B” premise that has defined the series. Namely, our favorite transporter has to deal with getting the job done with a powerful explosive strapped to his wrist (a matching one on the package as well), one that will detonate if he gets too far away from the car. It’s already been established that being a transporter is a dangerous occupation, but now Frank Martin has to do his job while being conscious at all times of his proximity to the car, because if he’s not careful he can go BOOM. It’s an ingenious plot device, because it’s easy to forget it until it becomes relevant and then you’re like “Oh sh*t the bomb!”


Another thing I liked about Transporter 3 is watching Frank deal with his latest “package” i.e. Valentina (Natalya Rudakova). In some ways, the interaction reminds me of  the interplay between Frank and Lai in the original film (just with more conversation), as Valentina strains Frank’s patience to the absolute limit (a notable example being when she gets high right before a car chase ensues). But one part of the interaction between Frank and Valentina that bothers me is how quickly they appear to develop a relationship. Ever since I was clued in to how unrealistic this is, seeing this in a film has always bothered me. However, even though it does bother me, it doesn’t stop me from enjoying the film, which is otherwise really good.

One last thing that bothers me in this film is some of the things that Frank does with the car. Now, I admit I don’t know too much about cars, but to me it seems highly unlikely that a car could be made to run again (just like that) after falling into a lake. And the odds of a vehicle being able to land on top of a moving train…I know it’s a movie and all, but something about that scene bothered me, so I just wanted to mention it.

Even though this film is 11 years old, I would be more than happy to see Jason Statham play the role of Frank Martin again (let’s just forget the reboot ever happened). Let me know what you think about Transporter 3 in the comments below and have a great day!

See also:

My Thoughts on: Transporter 2 (2005)

My Thoughts on: The Transporter (2002)

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My Thoughts on: Transporter 2 (2005)

I’ll admit to raising an eyebrow when I heard that Transporter 2 was considered by many to be superior to the original Transporter film. But after sitting down and watching it, I have to agree that those critics might have a point. Transporter 2 is a lot of fun to watch, and it definitely takes the action much farther than the original film did.

But admitting it’s the superior film? Hmmmm, I’m still not sure about that.

First let’s start with the basics: Transporter 2 goes the route of most sequels by putting a twist on the original premise. Instead of transporting packages for anonymous buyers, Frank Martin has been working for the last month as a personal driver for a family, taking their young son back and forth from school. It seems innocent enough, but given Frank Martin is involved in the situation, it doesn’t take long for things to go sideways.


One area in which Transporter 2 unquestionably excels is in the action. As great as the fight scenes in the original film are, they’re taken to the next level in this one. And some of the things that Frank does with that car of his just aren’t human (in fact, if I’m honest, at times it pushed my suspension of disbelief). No, in terms of action, Transporter 2 is a lot of fun.

Where I take issue with this film comes in the depiction of Lola, one of the main antagonists of the film. Lola is a completely psychotic gun-wielding killer, whose wardrobe is so scanty that it screams “mid-2000s fan service” from beginning to end. On one level, I get why she’s presented this way: the idea is that Lola is so crazy she just doesn’t give a f*ck and will dress however she wants, society be damned. But on the other hand, every time I see her this way it made me cringe. If I could alter one thing in this film, it would be her.

Other than that quibble, I suppose Transporter 2 really is superior to the original, except for that ending. I feel kind of bad for Frank in the end, but then I suppose he couldn’t be who he is if the film ended any other way. I also like how Inspector Tarconi is worked into the story. With the change of locale I didn’t think we’d see the dear inspector, but it worked out perfectly.

Overall, I enjoyed this film very much. Let me know what you think about Transporter 2 in the comments below and have a great day!

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My Thoughts on: Transporter 3 (2008)

My Thoughts on: The Transporter (2002)

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My Thoughts on: Aniara (2018)

*warning: spoilers down below for Aniara. If you don’t want to know, stop now!

As one who specializes in science-fiction film, I’m always on the lookout for new entries in the genre. From the moment I saw the first trailer for Aniara, a Swedish film based on the epic poem of the same name, I knew this was a film I would need to see. While a theatrical viewing was unfortunately denied to me, I was able to pick up the film on DVD and I finally sat down to watch it last night. Ever since the credits began to roll, I’ve been struggling with how to start this review, but I think I’ve finally found a place to start:

Relatively early in the film, the captain of the Aniara (a super-large spaceship that reminds me in many ways of a cruise ship but in space) remarks that they’ve essentially made their own planet. Assuming he’s correct, if the Aniara is meant to represent humanity in microcosmic form, then humanity is well and truly f*cked.


I’ve honestly struggled with this type of film in the past; those stories that are built on the idea that when things go wrong humans lose their sanity and go tribal before perishing altogether (High-Rise is built on a roughly similar premise, albeit on a much smaller scale). But now, after watching Aniara, every last horrifying minute of it, I think I’m beginning to understand why and how this particular story came about. At one end, it does seem ridiculous for the passengers to behave in this fashion, but then again, there’s no telling what you might do if you learn you’re now trapped in space for the rest of your life. Furthermore, the passenger’s actions are meant to highlight the inherent failings in humanity in general. Humans can’t handle not being in control. Place them in a vulnerable position long enough…and it all goes to pieces, quite literally.

Words can barely describe just how depressing Aniara is. The film wastes little time in beginning the death spiral of however many passengers are now trapped on the ship. Even worse, much of what happens is left to the viewer’s imagination. We know at the start that the ship is full of people both very young, and very old, yet by the end of the film (when MR gets her medal), the population has decreased significantly. Where did they all go? There are hints throughout, most of them quite gruesome in nature.


All of that being said, it seems strange that all of this would start with something as small as a screw (or whatever small debris impacted the ship). If the story has one failing, it’s that the event that sets off the plot seems so…unbelievable. Even the captain calls it “something incredibly unlikely” and it just seems strange that such an advanced vessel could be damaged so catastrophically just like that. Where are the backups, where’s the reserve fuel? What space vessel keeps ALL of their fuel in one place? The only thing that bugs me more is why couldn’t the Aniara simply radio Mars for help? If humans have developed the means to establish colonies on Mars and travel there in less than a month, surely communication with the red planet was possible (or perhaps not, it’s possible I missed a detail). All I’m trying to say is, it almost feels like the Aniara is set up to fail from the start.

I’ll close by mentioning the one image that will stick with me for a very long time. At the very end of the film, the last we see of the Aniara is that everyone on the ship is long since dead (we’ve jumped millions of years into the future by this point). In a scene I’ll never forget, the air is full of swirling debris (the artificial gravity has long since failed) and detritus. The only sign that humans were ever onboard is a human jawbone spinning through the air. As horrifying as that image is, it speaks volumes as to the fate of humanity that Aniara wants to share. For all of our accomplishments, everything humanity has done, ourselves included, will one day return to dust, and ultimately that’s all we will be. That’s why I said at the start, if Aniara is humanity in a microcosm, we are f*cked indeed.

Let me know what you think about Aniara in the comments below and have a great day. If you haven’t been able to see it, be aware that there is an English language option available so you can watch without staring at subtitles all of the time.

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Soundtrack Review: The Goldfinch (2019)

The soundtrack for The Goldfinch is now available for digital purchase through WaterTower Music. The score for this film was composed by Trevor Gureckis, whose past scores include Brooklyn and Vice.

The Goldfinch is the film adaptation of Donna Tartt’s globally acclaimed best-selling novel, which won the 2014 Pulitzer Prize for Fiction and the Andrew Carnegie Medal for Excellence in Fiction. In the story, Theo Decker was 13 years old when his mother was killed in a bombing at the Metropolitan Museum of Art. The tragedy changes the course of his life, sending him on a stirring odyssey of grief and guilt, reinvention and redemption, and even love. Through it all, he holds on to one tangible piece of hope from that terrible day…a painting of a tiny bird chained to its perch. The Goldfinch.

Regarding the film, Trevor Gureckis had this to say:

“Writing The Goldfinch was thrilling not only because of the huge orchestral forces at hand, but also for the opportunity to explore rich textural details with the use of electronics in service of the story. There are moments of vivid impressionism in the orchestra, as well as tapestries of glowing and burning synth textures. A real turning point in figuring out this score, was when John Crowley realized we needed The Goldfinch to appear in the music itself, not just visually in the film. It would be our North Star. So, the opening cue sets the theme that returns in many different transformations depicting anything for the painting to Theo’s traumatized state of mind, as the two are so intertwined. Just like the painting of the bird chained to its post, this theme is suspended harmonically throughout the entire score resolving only in the final moments of the film,”

The soundtrack is very beautiful. I particularly enjoy the piano melodies that appear throughout the score. Having listened to so many scores that bombard me with rich, orchestral melodies, it’s a nice change of pace to hear something more delicate, and that’s definitely what this soundtrack is. It’s delicate, it’s intricate, and surprisingly moody at times (I haven’t read the book this film is based on, so my knowledge of the story is limited). It might be a bit too simple for some people’s tastes, but as I said before, sometimes a simpler score is just the thing for a film.

I’m not sure what the movie will be like, but the music shouldn’t be a disappointment. Let me know what you think about the soundtrack for The Goldfinch in the comments below and have a great day!

  1. The Goldfinch
  2. Mrs. Barbour
  3. Interrogation
  4. Hobart and Blackwell
  5. Goldfinch Reveal
  6. Letter to Pippa
  7. Theo’s Burden
  8. Return to the Barbours
  9. Lucius Reeves
  10. Boris’ Father
  11. Theo and Pippa
  12. Las Vegas
  13. Desolation
  14. Civics Book
  15. Amsterdam
  16. The Story of the Goldfinch
  17. Boris Rescues Theo
  18. Beautiful Things
  19. The Goldfinch Theme – Solo Piano
  20. Currents – Solo Piano

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Film Soundtracks A-W

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An Interview with Chad Cannon, Composer of American Factory

Recently I had the opportunity to interview Chad Cannon, who composed the score for the Netflix original film American Factory. Composer Chad Cannon has traveled the world drawing inspiration from cultures, history, and human stories to create moving scores for documentaries, animation and live performances. His debut soundtrack for the documentary Paper Lanterns received an IFMCA (International Film Music Critics Awards) nomination for Best Original Score for a Documentary, and was lauded as “haunting, mystical” by The Japan Times; while his soundtrack for Cairo Declaration, co- composed with Xiaogang Ye, received China’s highest film prize, the Golden Rooster Award for Best Music. Chad most recently scored Netflix’s documentary, American Factory, which won the Best Director Award for a Documentary at the 2019 Sundance Film Festival and is the first film released by Barack and Michelle Obama’s production company, Higher Ground. His other recent works include a symphonic Americana score for PBS’ documentary CyberWork and the American Dream, as well as scoring Chris Meledandri and Illumination Studios’ animated short, The Dog Days of Winter.

Chad Cannon 2.jpg


How did you get started with composing for films and documentaries?

So I studied music at Harvard, I was studying music and Japanese there, and then I did my Masters at Julliard, also in composition. But all along I kind of knew…I’ve always like film, I thought it would be really cool to have a career that intersected film and music. So when I graduated from Julliard I moved to L.A. and I started working with this orchestrator named Conrad Pope, he worked for many years with John Williams, and the first project he hired me on was Peter Jackson’s The Hobbit trilogy, so I got kind of dumped right in the middle of a huge film score project, and as an orchestrator it’s a little less pressure then a composer obviously, because the orchestrator’s job is really to help the composer prepare all the conducting scores in time for the recording sessions, so you’re the one putting the notes on the page eventually. So from there, I kind of transitioned into writing more for film, and I had an opportunity to score a couple of feature documentaries with my brother who directed feature films for CrossFit. …My brother just had me write some custom music for those films. And then I had this opportunity to write for a film called Paper Lanterns, which was a Hiroshima documentary about the 12 Americans who had died in the atomic bombing of Hiroshima. So that was my first feature doc(umentary) that was more serious and I had an opportunity to write a more rich, orchestral for that film, and it was also a crossover score where I included some traditional Japanese performers in addition to this American orchestral sound that I was creating. So that led to me being accepted into the Sundance Composer Labs which happen every summer at Skywalker Ranch, and that lab is how I got connected to the American Factory film.

How did you get involved with American Factory

The Sundance Labs people knew I’d done quite a bit of work in Asia and they thought “Oh, since this is a film that is very much connecting Asia with the U.S., maybe he would be a good match” and so they referred me to Julia [Reichert] and Steve [Bognar]  who were the directors of American Factory.

How did you approach scoring the documentary?

Well, anytime I get a new film, the first thing I like to do is experiment with new materials or new instruments, just to sort of develop a sound world that I can draw from as I start getting clips of the film. So I tried two things at first that didn’t actually end up working out very well for the film. One was, because of the glass factory I thought “What if we used glass instruments?” and had glass be the heart of the score. So I got all the glass I could find and recorded myself playing rhythms on them. I got wine glasses, and did a bunch of tones, and I tried a bunch of stuff. And Julia and Steve heard it, and were like “Oh, this is cool but it’s too ‘twinkly.’” And that’s because glass creates a lot of high overtones, which creates a “twinkly” sound. And because there’s quite a few ominous, or dark themes in the film, as well as a huge amount of factory noise, from a sound design perspective this film was very difficult because the sound designer Lawrence Stevenson had to navigate, when you’re recording the audio in the factory and it’s hard to hear, just from the amount of noise. So anyway, the glass approach didn’t really work.

And then the next thing I tried was to include traditional Chinese elements, especially from Fujian Province, which is where the Fuyao headquarters is within China, and I had happened to have been there before…Steve and Julia also considered that, but then they said “We’re Americans,  we’re from Ohio, we don’t want to make this feel like it’s exoticizing the Chinese component of this movie. Make it more universal in the approach.” So ultimately we ended up focusing on a low woodwind sound; so there’s a lot of bassoons, bass clarinets, some lower flutes like alto flutes…and the reason we went in that direction is because Julia had heard a Mozart piece called the “Gran Partita” and this piece is for woodwinds with two horns and a double bass, and it’s just a really unique instrumentation…and ultimately I think she was right in leaning in that direction, because the woodwinds’ timbre goes well against all the metallic glass timbre that you hear in the film. The factory noises are complimented by this woodwind sound, as opposed to competing with it. There’s something about that combination that ended up working nicely, and I ended up writing a lot of music for these slow woodwinds.

Were you inspired by the factory machines, because in several of the manufacturing scenes it feels like the music is mimicking the frenetic action of the glass factory

For sure, there are a lot of moments..there’s one specific moment if you remember near the end of the film, there’s a sequence where Wong is sitting next to this panel of blinking lights in the dark, he’s sitting there and there’s a voiceover where he says “I think the most important thing is mutual understanding” and he expresses this admiration for American workers who can manage having multiple jobs at once…and that sequence…the blinking lights were the trigger for the music in that scene, where if you listen there’s a lot of minimalist patterns. A lot of the American minimalists will come to a pattern and they’ll repeat it for a really long time to create this meditative state and, that’s a very common technique now in film music. That pattern that I have in that scene is very much trying to show…it’s drawing inspiration from the blinking lights on the panel. And it gets you into Wong’s mind about how things are kind of dark at that moment.

And the music when we enter the factory for the first time is also rooted, grounded in a repeating bass note. The cue is actually called “The Resurrection,” …and for me the pillars of the factory, and the weight of this machinery, all of that is finding its way into the score in these heavy bass figures that I’ve been writing.

It feels like there are different themes, or different musical sentiments for the American and Chinese sides of the story, is that so or am I imagining that?

There are no themes that are specifically Chinese or American…Thematically there’s like four or five melodic ideas that spin out, and sometimes it’s the same theme but in a dark variation, sometimes lighter. Pretty much all of the musical material is tied back to that first theme called “The Forge.” There’s a parallel fifth motif that becomes the bed of pretty much everything else that happens after that. There are also themes for the Chairman and Wong. Wong’s theme is what comes back at the very end when we see this sequence between American workers and Chinese workers leaving the factory, and it’s like this fanfare for workers. The point of this theme is that it’s where I’m trying to convey the dualism of two countries coming together. And at the very, very end, there’s a long sequence with the Chairman where all of the themes you’ve heard throughout start to come back very quietly, underneath the dialogue, revisiting the places we’ve been along the way. So there are musical themes that are attached to specific characters.

How did you decide which parts of the documentary need music, because I’ve noticed chunks that have no music at all, and it feels like a very abrupt transition between music and no music.

So the way the film is edited is by chapters, and they’ll create a scene, or a series of scenes which together comprise a chapter. And the filmmakers who are also the writers, you know documentaries are written in the editing room, they don’t have a script, they just go out and film stuff. They get all the footage and then they go back and figure out what story they captured. And they could’ve told many different stories with the footage they had. They had to go through 1200 hours of footage shot over 3 years, so it’s really an incredible feat, what they did to cut it down to the film you see now. So musically, the way this pans out in documentaries is that, first of all, as opposed to feature films, and I personally feel that feature fiction films tend to get over-scored, I’m a fan of leaving space for people to just appreciate the environment that they’re in…the whole world is full of sound and interesting environmental ambience, and there’s music everywhere if you just open up your ears.

And I feel like in film it’s really beautiful when people know not to put music, because then you can be more immersed in the reality of whatever environment you’re in, even more so in a documentary. The challenges of a documentary film composer is that you can’t be too dramatic, you can’t hit things too hard on the nose without it starting to become editorializing. They’re telling true stories and representing real people, and you have to respect that. So the choices about where not to do music were largely where Julia and Steve had told me beforehand, where they said “Oh we don’t need music for this scene, or for here.” If there was music the whole time it would just start to get in the way of what people are saying.

There was one scene where I pushed for there to be no music, which was this scene where there’s no video just the recording, where the Fuyao employee had recorded this audio of the anti-union guy persuading them to vote against the union. And originally that scene had some very ominous music in it and I ultimately told them this is already such a shock where you lose the video, that you don’t need any score there because it’s already such a change from what we’ve been doing. And it’s already so ominous that the picture’s gone.


It was a great honor to be able to talk with Chad Cannon about his work on American Factory, and I hope you enjoyed reading about it. Let me know your thoughts about American Factory (and the soundtrack) in the comments below and have a great day!

American Factory is currently available for streaming on Netflix.

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Soundtrack Review: It: Chapter Two (2019)

*note: there may be potential spoilers in the few score cues I mention, so keep that in mind as you read this review

As the thrilling conclusion to It (2017) approaches in a matter of days, the soundtrack for It: Chapter Two has been made available for those who wish to hear it in advance of seeing the film. Benjamin Wallfisch, who also scored the first film, returns to complete the musical story he began telling two years ago. In It: Chapter Two, evil resurfaces in Derry as director Andy Muschietti reunites the Losers Club in a return to where it all began. Twenty-seven years after the Losers Club defeated Pennywise, he has returned to terrorize the town of Derry once more. Now adults, the Losers have long since gone their separate ways. However, people are disappearing again, so Mike, the only one of the group to remain in their hometown, calls the others home. Damaged by the experiences of their past, they must each conquer their deepest fears to destroy Pennywise once and for all…putting them directly in the path of the shape-shifting clown that has become deadlier than ever

Regarding the soundtrack, Wallfisch had quite a lot to say:

Andy [Muschietti] has created such an ambitious and extraordinary movie in IT Chapter Two, with an incredible scope on every level.  One of our earliest discussions for the new score was how we could take what we did for the first movie and give it more scale and ambition – to reflect the scope of the film. To start with, we used a much larger orchestra and choir and also created several new themes; when we occasionally reprise moments from the first score, we re-recorded them with more complex and ambitious arrangements, like the music itself had gone through 27 years of maturing. But the most exciting challenge was how to develop the original themes and create new ones that fit alongside them. There was a lot more music required, which really allowed room for the original themes to develop and evolve in a way driven by the emotional complexity of how The Losers Club grapple with inner demons from the past and painful memories and ultimately unite to confront their biggest fears. Pennywise is even more vengeful and flagrant this time, and the music had to also reflect that increased darkness, whilst never losing sight of the adventure and emotion that are at the core of the movie. It was such a joy to reunite with my good friend Andy Muschietti to help bring this story home – the movie is a true masterpiece from the filmmakers and I’m so honored to have had the opportunity to be involved.


The soundtrack is, in a word, terrifying. Benjamin Wallfisch had a 100 piece orchestra and a 40 person choir to work with when putting this score together, and I assure you he used it all to great effect. If you follow me on Twitter, you’ll know that as a general rule I avoid most horror films, and the music (if done properly) is a big reason why. Wallfisch has filled the score with “jump” moments, where out of nowhere the music will surge up and almost literally snap at you. You can’t even relax during the “brighter” moments because there’s an undercurrent of tension and fear with almost every piece (“Losers Reunited” being an exception to the rule).

Musical jump scares aside, the part that freaks me out the most about this soundtrack is what Wallfisch has done with the choir (at least, I assume it’s the choir). Throughout the soundtrack, and without warning, there are sections where you hear garbled voices, kind of like if you were listening through a static-filled radio, and the voices all sound like they’re screaming in terror. Sometimes these voices act as their own music, sometimes they come in with music, but it’s without a doubt one of the most terrifying things I’ve heard in a soundtrack this year (and probably in the last few years if I’m honest).


And another thing that Wallfisch is doing in the soundtrack that really scares me is how he manipulates the violins throughout the score. This is something I’ve heard in a lot of scary movies; it’s a technique where a group of violins plays at their highest register and quickly increases in volume and pitch, ending with an almighty shriek that has you instinctively backing up against the wall, even though you know there’s nothing there (well, at least that’s what it does to me). I can only imaging the visual context for those moments, and given this is a movie with Pennywise in it, I’m afraid to find out the answer.

Benjamin Wallfisch clearly put a lot of work into this score, and if it’s this scary by itself, I shudder to think what it would be like to hear this music with the film it was written to accompany. If you liked the score for the first It, then you will love the music for It: Chapter Two.

Let me know what you think about the soundtrack for It: Chapter Two in the comments below and have a great day!

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Film Soundtracks A-W

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