Of the seven Fast and Furious films that have been released, Fast Five (2011) remains the first and only film in the series that I have watched. It was my senior year of college, and the local movie theater was having a “Free Movie Night” for all the students of the university, and I’d never seen a Fast and Furious film before, so I decided to check it out. I remember enjoying it and laughing a lot! This was before I discovered my calling for film music, so I didn’t really pay any attention to the score at the time, but I was delighted years later to discover that Brian Tyler was the composer for that film.
Brian Tyler may not be an immediately recognizable name, but it surely will be in years to come: he has already composed the music for Thor: The Dark World, Avengers: Age of Ultron; Constantine; The Fast and Furious: Tokyo Drift, among many, many others.
This interview gives a great look at Brian Tyler in his recording space. As a film music scholar, it’s so exciting for me to be able to see his computer layout where he records and then synthesizes all these melodies together (I still have a dream of meeting some of these film composers some day).
Waaaaaay back in the year 2000, DreamWorks Animation released an animated comedy entitled The Road to El Dorado. Taking inspiration from the Bob Hope/Bing Crosby “Road to..” films, El Dorado tells the story of two swindlers named Miguel (Kenneth Branagh) and Tulio (Kevin Kline), who end up winning a map to the fabled city of gold “El Dorado.” After unwittingly stowing away on the ship of conquistador Hernan Cortes (Jim Cummings), the pair (accompanied by a horse) escape and make landfall in the New World. There, the two use the map and successfully locate the city deep in the jungle. Conveniently, Miguel and Tulio bear more than a passing resemblance to the two gods who created the city in the first place, and the pair are hailed (after a rocky start) as deities, with the entire city at their disposal.
During their first night in the city, the Chief throws a huge party for the “gods.” While Tulio is skeptical about this whole “being a god” thing, Miguel, the eternal optimist, loves it, and swears that being a god is the easiest thing in the world! This is how “It’s Tough to Be a God” begins.
I hardly think I’m qualified to come across all sanctified. I just don’t cut it with the cherubim
Tulio, what are you talking about?! There again, they’re on their knees. Being worshiped is a breeze which rather suits us in the interim.
Interim, interim. It’s me and him. Oh, my God!
It’s tough to be a god. Tread where mortals have not trod. Be deified when really you’re a sham. Be an object of devotion, be the subject of psalms. It’s a rather touching notion, all those prayers and those salaams. And who am I to bridle if I’m forced to be an idol? If they say that I’m a god, that’s what I am.
I think the title of the song is somewhat tongue-in-cheek, because while the pair bemoan how tough it is to appear godlike, all you really see is the two having a good time, partying and drinking the night away. I love listening to these two sing, Branagh and Kline are great together. The style of the music is very much in keeping with what you might expect from a Disney musical (even though this is DreamWorks) and the animation is gorgeous! In fact, this is my favorite song from the film, considering it’s the one I remember the most.
There is one spoken verse where Tulio reminds Miguel that if they DON’T pull off this “god” gambit, then they could very easily be sacrificed (i.e. killed) to the real gods.
What’s more, if we don’t comply with the locals’ wishes, I can see us being sacrificed or stuffed. You have a point, yes, that’s very good thinking. So let’s be gods; the perks are great. (Yeah.) El Dorado on a plate. (Thank you!) Local feelings should not be rebuffed. Never rebuff, never rebuff a local feeling, no my friend.
It’s tough to be a god, but if you get the people’s nod, count your blessings, keep ’em sweet, that’s our advice. It’s great advice! Be a symbol of perfection. Be a legend! Be occult! Take their praise, take a collection as the multitudes exalt. Don a supernatural habit We’d be crazy not to grab it! You got it! So sign on two new gods for paradise… par-a-dise!
Miguel acknowledges Tulio’s point, but doesn’t seem overly concerned, and why not? Right now the entire city believes they’re gods. It seems that the pair should have no trouble collecting as much gold as they like and eventually leaving when the time is right.
But considering this is a movie, you KNOW things aren’t going to be nearly that simple. Hopefully Miguel and Tulio enjoy this night of partying, because things get really hairy starting the next morning (but that’s a story for another time). If you’ve never seen this movie before, don’t let it’s reputation dissuade you, it’s a really fun experience, everyone should see this movie at least once. For now, enjoy “It’s Tough to be a God.”
*All images are the property of DreamWorks Animation
This post is part of the Reel Infatuation Blogathon hosted by Silver Screenings and Font & Frock.
It is no secret that I am a big fan of the Mission Impossible film series. But why do I like this series so much? Is it because of the music? Yes, that’s certainly part of it. Is it the action? Yup, there’s that too. But at the heart of it, the biggest reason I watch the movies is because of:
Him.
Him.
And oh yes…him!!
That’s right. I confess that I have a gigantic crush on Ethan Hunt (aka the craziest spy to ever walk the face of the Earth. Brilliantly portrayed by Tom Cruise in five films and counting). I didn’t quite realize I had a crush on him until I saw Mission Impossible 2. As dated as that film is in terms of look, there’s a great plot line between Ethan and the thief Nyah, where Ethan has to save her in time after she injects herself with the last dose of the killer Chimera virus. If there’s one thing you can depend on with Ethan Hunt, it’s that he will move heaven and earth to save the people he cares about. And guys who care that deeply about people…well, I find that very attractive in a guy. (It also helps that Ethan is in perfect physical condition too).
Ethan is also that guy who can go anywhere, do anything and literally be anyone. Case in point: see the first Mission Impossible movie where he bluffs his way into meeting Max, the arms smuggler. And every time he raises the stakes with some death-defying stunt (including the free swimming one that nearly killed him in Rogue Nation), I actively worry about him, even though I’m pretty sure I would never cross paths with a man like Ethan Hunt in real life. But hey, I can dream right?
Anyways, that’s my crush on Ethan Hunt, I hope you liked reading about it (I’m totally going to binge on Mission Impossible movies this coming weekend now).
There are many romantic songs in the Disney Universe, too many to list all at once. But of all those Disney love songs, “A Whole New World” probably ranks up at the top. And why not? Being whisked away on a magic carpet ride to fly all around the world is a beautiful idea. This song was nominated for and won an Academy Award for Best Original Song. It also remains the only Disney song to win Song of the Year at the Grammy Awards.
I can show you the world Shining, shimmering splendid Tell me, princess, now when did You last let your heart decide!
I can open your eyes Take you wonder by wonder Over sideways and under On a magic carpet ride
A whole new world A new fantastic point of view No one to tell us no Or where to go Or say we’re only dreaming
A whole new world A dazzling place I never knew But when I’m way up here It’s crystal clear That now I’m in a whole new world with you
The song (and everything that takes place during it) is how Prince Ali/Aladdin finally thaws his way into Princess Jasmine’s heart. Being used to stuck-up suitors who just viewed her as a “prize to be won”, Prince Ali stuns her by saying that she should be free to make her own choice (regarding who she marries).
Now I’m in a whole new world with you
Unbelievable sights Indescribable feeling Soaring, tumbling, freewheeling Through an endless diamond sky
A whole new world (Don’t you dare close your eyes) A hundred thousand things to see (Hold your breath it gets better) I’m like a shooting star I’ve come so far I can’t go back to where I used to be
A whole new world (Every turn a surprise) With new horizons to pursue (Every moment, red-letter)
I’ll chase them anywhere There’s time to spare Let me share this whole new world with you
A whole new world (A whole new world) That’s where we’ll be (That’s where we’ll be)
A thrilling chase
A wondrous place
For you and me
Aladdin’s idea of inviting Jasmine for a ride is brilliant, but he makes a mistake (the first of several during this sequence). When Jasmine asks if it (the carpet) is safe, Ali/Aladdin says “Sure, do you trust me?” (When Aladdin met Jasmine while she was in disguise in the marketplace, he asked her the exact same thing as they were fleeing the city guards). Jasmine is slightly suspicious, but she agrees to come anyways, leaving a bewildered Rajah far behind.
I have a small story to share about this song. Two summers ago, I went home for a visit and attended an Il Divo concert with my mom (Il Divo is a singing group consisting of operatically trained male singers, look them up, they’re amazing). And during this particular concert tour, they had a guest performer with them: Lea Salonga, aka the singing voice of Princess Jasmine!!! You can imagine my unbridled joy when, in the middle of the concert, a familiar tune started up and Lea Salonga performed “A Whole New World” for us (with various members of Il Divo filling in for Aladdin)!!!! It’s been over twenty years since Aladdin came out, and she still sounds just the way she did in the movie.
The flight starts in Agrabah but quickly moves across the desert, through Egypt (where the Sphinx loses its nose as a result of the carver being startled by the pair flying past), through what appears to be Ancient Greece, and finally China. The song is all about the experiences of life, and how Aladdin can show her the world she’s never gotten to see before. My favorite verse of all comes from Princess Jasmine:
“I’m like a shooting star/I’ve come so far/I can’t go back to where I used to be!”
In essence, this whole experience has changed Jasmine, to the point where she can no longer go back to simply living in the palace, she’s seen too much of the outside world for that.
Ali/Aladdin unwittingly continues to leave little clues as to who he really is. As the pair fly through Greece, Aladdin plucks an apple off a nearby tree and rolls it to her exactly as Aladdin did (again, in the marketplace). This time Jasmine gets a knowing look in her eyes. She’s still not sure exactly HOW it’s happened, but she knows now that Ali has to be Aladdin.
In closing, I love this song, it was very well done (there have been times where I’ve listened to this song on repeat). It’s also a nice quiet interlude because once this song is over, things in the story begin to move very quickly.
*All images are the property of Walt Disney Studios
If people remember any song from Aladdin, it’s usually “A Whole New World” or “Friend Like Me.” The latter is a shining example of pure Disney fun. After being stranded in the dormant Cave of Wonders by the disguised Jafar, Aladdin inadvertently releases the Genie from the lamp. The extremely powerful, blue Genie is voiced by that legendary comedian, the late Robin Williams.
The part of the Genie was actually created for Williams, but the comedian initially was not sold on the idea. To get Williams to agree, the animators took one of Williams’ stand-up routines, and animated the Genie over it, to give Williams an idea of what this would look like. The result had the comedian in stitches and he agreed to the part.
Initially, “Friend Like Me” was going to be a Cab Calloway, big-band style number (and it’s my understanding that the Genie is a Cab Calloway-ish character in the Broadway show), but once Williams signed on, the song was changed into what we see today. According to the animators, some of Aladdin’s early design remains visible in sections of this number. Originally, Aladdin was made to look younger, “more like Michael J. Fox” as the animators put it. But they began to worry that Aladdin wouldn’t look right next to Princess Jasmine so Aladdin’s design was altered to be “more Tom Cruise”. Apparently, some of that first design is still visible, though truthfully I’ve never noticed a difference.
Well, Ali Baba had them forty thieves Scheherezad-ie had a thousand tales But, master, you in luck ’cause up your sleeves You got a brand of magic never fails
You got some power in your corner now Some heavy ammunition in your camp You got some punch, pizzazz, yahoo and how See all you gotta do is rub that lamp And I’ll say
Mister Aladdin, sir What will your pleasure be? Let me take your order Jot it down You ain’t never had a friend like me
Life is your restaurant And I’m your maître d’! C’mon whisper what it is you want You ain’t never had a friend like me
Yes sir, we pride ourselves on service You’re the boss The king, the shah
Say what you wish It’s yours! True dish How about a little more Baklava? Have some of column “A” Try all of column “B” I’m in the mood to help you dude You ain’t never had a friend like me
The entire song is devoted to the Genie describing the powers Aladdin has at his disposal now that he has three wishes and a Genie to command. There are many pop culture references, and a lot of sight gags (with the Genie frequently changing his appearance). I remember loving this song as a kid, I would often pretend to be the Genie, doing that crazy dance and imitating all the different voices (good times!!).
Can your friends do this? Can your friends do that? Can your friends pull this out their little hat? Can your friends go, poof?
Well, looky here Can your friends go, Abracadabra, let ‘er rip And then make the sucker disappear? So don’tcha sit there slack jawed, buggy eyed I’m here to answer all your midday prayers You got me bona fide, certified You got a genie for your chargé d’affaires I got a powerful urge to help you out So whatcha wish? I really wanna know You got a list that’s three miles long, no doubt Well, all you gotta do is rub like so – and oh
Mister Aladdin, sir, have a wish or two or three I’m on the job, you big nabob You ain’t never had a friend, never had a friend You ain’t never had a friend, never had a friend You ain’t never had a friend like me
You ain’t never had a friend like me, hah!
I love the ending of this song when Genie sets up the grand finale, with dancing elephants, swordsmen, piles of gold, dancing girls, and everything inbetween appear in one riotous finish (the dancing monkeys on the giant ruby are a particularly nice touch). Of course, with Genie being Genie, as the song ends, everything is sucked away and we’re left with a simple neon “Applause” sign.
“Friend Like Me” is a good song to listen to if you’re feeling down, because with Robin Williams’ outstanding performance, you’re feeling bright and happy before the first verse is even over. Hope you enjoyed listening to “Friend Like Me”, next time it will be “A Whole New World” 🙂 Enjoy the rest of the day guys, you’re the best!
*all images are the property of Walt Disney Studios
Before we jump into the wonderful mayhem that is “Prince Ali”, we first need to explore the context of when and where all of this is taking place. Agrabah, the city where Aladdin lives, is ruled by the benevolent Sultan, whose only daughter Jasmine, must marry a Prince by her next birthday. The problem is, Jasmine has firmly rejected any and all princely suitors that have hitherto come her way (the most recent, Prince Achmed, is sent packing after Jasmine’s pet tiger Rajah takes a bite out of his pants). The poor Sultan is despairing of Jasmine ever choosing a husband, but have no fear….Jafar, the Royal Vizier is here to help.
Thanks to Jafar’s involvement in the opening scene with the Cave of Wonders, we as an audience already have an idea that Jafar is up to no good, but here in front of the sultan he puts on the face of a well-intentioned counselor, whose only wish is to serve. The Sultan wants guidance on how to get Jasmine to marry someone, and Jafar says that this may easily be done, but first he needs the diamond ring off the Sultan’s hand. When the Sultan balks, Jafar hypnotizes the Sultan into handing over the ring via his cobra-headed staff. (In reality, Jafar needs the ring to find “the diamond in the rough” who can enter the Cave of Wonders without getting killed).
Jafar is actually a villain I hadn’t paid much attention to, even as a kid, that is until I learned a rather interesting fact about him. After I bought Sleeping Beauty on Blu-ray, there was an interview with the now-late animator of Maleficent, and several other Disney animators. One in particular, the lead animator for Jafar, revealed that Jafar’s design is directly based on Maleficent. Looking at the picture above, I can totally see the resemblance. But I digress, on to “Prince Ali” !!
After Jafar’s plan to use Aladdin to get the lamp backfires, Jafar has to think of a new way he can come to power. Thankfully, his wisecracking parrot Iago has the perfect solution: why doesn’t Jafar marry Princess Jasmine? There’s nothing in the Law that says it can’t be done and it would be the easiest route to power as once the wedding is done, Jasmine and the Sultan would suffer an unfortunate “accident” resulting in Jafar as the sole ruler of Agrabah. It’s diabolical, and it just might work! All Jafar needs to do is hypnotize the Sultan into authorizing the marriage and it’s a done deal. But just as the Sultan nearly agrees to it, a faraway trumpet blast breaks the hypnosis and the Sultan runs to see what is coming.
Make way for Prince Ali Say hey! It’s Prince Ali
Hey! Clear the way in the old Bazaar Hey you! Let us through! It’s a bright new star! Oh Come! Be the first on your block to meet his eye!
Make way! Here he comes! Ring bells! Bang the drums! Are you gonna love this guy!
Prince Ali! Fabulous he! Ali Ababwa Genuflect, show some respect Down on one knee! Now, try your best to stay calm Brush up your sunday salaam The come and meet his spectacular coterie
I absolutely LOVE this song! The fanfares, the pageantry, it’s just amazing to watch. And right away you can tell that the leader of the parade is the Genie with flesh-colored skin. The entire song is performed by Robin Williams, the purpose being to present “Prince Ali Ababwa” (aka Aladdin) as this amazing prince whom the princess couldn’t possibly think of refusing because he’s so awesome:
Prince Ali! Mighty is he! Ali Ababwa Strong as ten regular men, definitely! He faced the galloping hordes A hundred bad guys with swords Who sent those goons to their lords? Why, Prince Ali
He’s got seventy-five golden camels Purple peacocks He’s got fifty-three When it comes to exotic-type mammals Has he got a zoo? I’m telling you, it’s a world-class menagerie
Prince Ali! Handsome is he, Ali Ababwa That physique! How can I speak Weak at the knees Well, get on out in that square Adjust your veil and prepare To gawk and grovel and stare at Prince Ali!
He’s got ninety-five white Persian monkeys (He’s got the monkeys, let’s see the monkeys) And to view them he charges no fee (He’s generous, so generous) He’s got slaves, he’s got servants and flunkies (Proud to work for him) They bow to his whim love serving him They’re just lousy with loyalty to Ali! Prince Ali!
Prince Ali! Amorous he! Ali Ababwa Heard your princess was a sight lovely to see And that, good people, is why he got dolled up and dropped by With sixty elephants, llamas galore With his bears and lions A brass band and more With his forty fakirs, his cooks, his bakers His birds that warble on key Make way for prince Ali!
According to the Genie, Prince Ali has done it all: he’s as strong as ten men, he defeated a horde of bandits, he’s generous with his money and he’s the peak of physical perfection. Of course, aside from the handsomeness, everything else is a complete lie, Ali/Aladdin hasn’t done any of these things, so while it’s understandable what the Genie is trying to do (making Ali/Aladdin look good), he’s going seriously overboard. I mean, suppose a horde of bandits had swept down on Agrabah and everyone looked to this Prince Ali to solve the problem? I’m probably nitpicking, but it is something to think about.
At any rate, the procession is extremely impressive. In fact, it’s modeled after the famous Thanksgiving Day parade in New York City (with the giant floats and even a giant balloon gorilla at one point). Everyone is impressed: the people, the city guards who used to chase Aladdin, even the bawdy girls that Aladdin used to try and impress (I honestly don’t know what else to call them). Everyone is impressed…except Princess Jasmine (who leaves in a huff before the song is even over).
Jafar is not impressed either. While he doesn’t realize (yet) that Prince Ali is the street rat Aladdin that he left for dead in the desert, he IS upset that another Prince has arrived to upset his plans of marrying Jasmine himself. No matter how great this Prince Ali is, as far as Jafar is concerned, he has got to go!
Poor Iago got squashed…
The song ends as the giant procession forces itself into the throne room where Prince Ali presents himself to the Sultan by flying down on his magic carpet. That’s quite an entrance for any Disney Prince to make, but will Jasmine be interested? Possibly…IF Ali/Aladdin can be himself and IF he can tell her the truth and IF Jafar doesn’t figure out who he really is first, wow that’s a lot of “Ifs”.
What do you think about “Prince Ali” ? Did the Genie take things a little too far? For next time, we’ll look at “Friend Like Me”.
*all images are the property of Walt Disney Studios
After the outstanding success of Beauty and the Beast (1991), the next installment in the Disney Renaissance came out the following year. Aladdin (1992), adapts the fairy tale of the same name and tells the story of how a “street rat” named Aladdin falls in love with the beautiful Princess Jasmine, meets a powerful genie, and becomes a prince so he can attempt to marry her. Did I mention there’s also a power-hungry vizier/sorcerer named Jafar who’d like to be Sultan himself and will do anything to achieve this goal?
Aladdin holds a special place in my life. While Beauty and the Beast is my overall favorite, Aladdin is quite possibly the first film I ever saw in the movie theater. It is certainly the oldest film I remember seeing (I will never forget seeing the title card come up on that big screen). Though there is a (small) chance I was taken to see Beauty and the Beast, I have no memory of seeing the film in the theater, so I can’t say for sure.
On the musical side, Aladdin’s score was once again composed by Alan Menken, with songs created by Howard Ashman and Tim Rice. This is the final film to feature songs completed by Ashman before his untimely death from HIV: the three songs that feature his work are “Arabian Nights”, “Prince Ali” (Tim Rice completed the reprise of this song) and “Friend Like Me.”
Since “Arabian Nights” opens the film, that is where we will begin. The scene begins with the Peddler riding across the desert on his camel as he sings about the desert. Menken and Ashman originally conceived of this song as being a lot longer, with frequent reprises that would have taken place throughout the film to comment on developments in the story. This idea was nixed, though the opening prologue remained, with one semi-significant change. In the opening verse, this is what we hear:
O I come from a land/from a faraway place/where the caravan camels roam
Where it’s flat and immense/and the heat is intense, it’s barbaric, but hey it’s home!
The “flat and immense” line is actually a substitution. The original verse read “Where they cut off your ear if they don’t like your face…” Why they would put that line in a Disney film, I don’t know, but I think we can all agree that it was a good thing they changed it (interestingly enough, the original verse is intact on the CD release of the soundtrack).
When the wind’s from the east And the sun’s from the west And the sand in the glass is right Come on down Stop on by Hop a carpet and fly To another Arabian night
Arabian Nights like Arabian days More often than not Are hotter than hot In a lot of good ways
Arabian Nights ‘neath Arabian moons A fool off his guard Could fall and fall hard Out there on the dunes
The complete song is not very long (just over 1:30) but it includes a great shot of the city of Agrabah, as well as the fantastically huge palace (which I believe was inspired by the real-life Taj Mahal). I loved this opening shot, because once the palace appears, the entire song changes from a relatively slow ballad to a fast-paced Arabian melody.
Now as for the Peddler himself: Disney itself confirmed months ago what we’ve all suspected for years: Robin Williams was indeed voicing the character while he gives his sales pitch at the end of the prologue, which likely means that the Peddler is the Genie in disguise. However, that is NOT Robin Williams singing “Arabian Nights.” It was going to be, but Williams had so much trouble singing the high parts of the song (after Agrabah is revealed) that Disney brought in Bruce Adler to record the entire song in an imitation of Williams’ voice.
This song is very beautiful, but as I said before, so very short, that I almost wish the longer version envisioned by Menken and Ashman had survived to the final cut. As it stands though, “Arabian Nights” makes a perfect introduction to the setting of the film (it’s certainly a stunning reveal, going from pure desert to a huge palace in a matter of seconds).
That’s all I have for “Arabian Nights”, next time I will likely skip ahead to either “Prince Ali” or “Friend Like Me.” I hope you enjoyed this first look at Aladdin!
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*all images are the property of Walt Disney Studios
If you’re not familiar with Star Wars: Rebels, let me explain (and I’ll try to be brief). In a nutshell, Rebels takes place in the years between Episodes III and IV when the Rebel Alliance is just beginning to form and Darth Vader is still on the prowl for remaining Jedi. At the conclusion of season 1 (or maybe the beginning of season 2, I forget), it is revealed that the contact for our particular group of heroes is none other than Ashoka Tano, Anakin Skywalker’s one-time Padawan, last seen in the final episode of Star Wars: The Clone Wars (which ends not long before the events of Episode III). Having for years believed her master died in the Jedi purge, Ashoka has come to learn the terrible truth: Anakin Skywalker and Darth Vader are one and the same. And once Vader becomes aware that his former apprentice is still alive, a conflict between them is inevitable.
Fast forward now to the end of season 2: Ashoka, Ezra (a young Padawan in training) and Kanan (a surviving Jedi training Ezra) travel to a dark planet named Malachor to retrieve a Sith holocron before the Inquisitors can seize it for the Emperor. While on the planet, our heroes come across a number of surprises (including a still-alive Darth Maul, there’s a long story in and of itself), but ultimately they reach the holding place for the holocron. But now they’ve got company: Darth Vader himself has arrived (James Earl Jones returned to reprise his role as the Dark Lord of the Sith).
Vader is confronted by a furious Ashoka, who vows to avenge Anakin’s “death” at Vader’s hands. The two engage in a lightsaber battle for the ages, and the fight (along with the music) really has the feel of a Star Wars film, not an episode from a television series. As the two fight on a ledge, Vader succeeds in Force-pushing Ashoka off and she disappears, but she isn’t dead! As Vader attempts to pull the holocron out of Ezra’s hands, Ashoka comes running out of nowhere and lands a direct blow on Vader’s helmet. With the holocron removed, the Sith temple everyone is standing in is getting ready to explode (the holocron was keeping it stable), and Ezra is screaming for Ashoka to hurry and join them, but then…
“Ashoka…Ashoka…” Gasps all around because that isn’t Darth Vader’s voice…that’s Anakin’s voice (both in-universe and in real life, the voice actor who portrayed Anakin in The Clone Wars returned specifically for this episode). Ashoka has always felt guilty about leaving Anakin and vows that this time, she will not leave him. Vader considers this for a moment, but the one visible eye hardens and Vader growls “Then you will die!” The last we see of them before the temple explodes, Ashoka and Vader are furiously dueling.
(apologies for the long description, but it’s the only way to set up this musical moment properly).
“It’s Over Now” begins as Kanan and Ezra are returning to the planet Lothal and Kanan comforts Ezra by telling him “It’s over now.”
As the ship descends to land, the music becomes so very powerful. There’s a full chorus and a strong brass melody that screams the style of John Williams (even though it isn’t). Even if you never saw an episode of either The Clone Wars or Rebels, you know that this is a profound moment of sadness for all of the characters. The main brass theme sounds like a cross between the main “Force theme” and “Yoda’s theme” both from the original Star Wars films. This music though was not composed by John Williams but by composer Kevin Kiner (who has scored both The Clone Wars and Rebels)
The most powerful moment of all comes immediately after this reunion, when we return to the surface of the planet to see Vader staggering away from the temple, badly injured. Given the ferocity of the fight, since Vader is the one walking away, one could presume that Ashoka is dead…but is she? There is a brief glimpse of Ashoka disappearing back into the temple, but is she alive or is that her Force ghost? Either is possible, but we won’t find out until season 4 for sure.
After I listened to this piece, and then watched the scene in context, I could not stop listening to this music over and over again. The one word that keeps coming into my mind is powerful, you can feel the emotion surging through the soundwaves.
I had not watched any of Star Wars: Rebels until I heard about the Ashoka-Vader fight, but if this gorgeous music is typical of the series, then I will be making plans to go back and watch the entire series. I hope you enjoy “It’s Over Now”; like I said, I don’t normally do television music, but I think you’ll agree after listening that this piece of music is special.
*poster image is the property of Walt Disney Studios
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You know that old expression “You can’t judge a book by it’s cover?” Well, I think a similar expression is also true: “You can’t judge a soundtrack by the film it’s attached to.” This was my thought after listening to a five minute scoring session from Battle: Los Angeles, a 2011 sci-fi action film which depicts Los Angeles (and the rest of the world) under attack from hostile alien forces. The film stars Aaron Eckhart, Michelle Rodriguez and Ramon Rodriguez, and was directed by Jonathan Liebesman.
The film itself received very negative reviews (it was notably panned by Roger Ebert), but the soundtrack, composed by Brian Tyler, received some positive mentions. For example, on Wikipedia, one review called it “…a highly entertaining, old-fashioned orchestral soundtrack that should appeal to fans of Hans Zimmer…”*
I have to agree with Mr. Monger (the author of that review): the music does indeed have that old-fashioned feel to it, but in the world of film music I believe that is a good thing. To call a film score “old-fashioned” is to say that the composer is using a traditional orchestra and not simply synthesizing everything.
As you watch the scoring session, take note of the computer screen immediately behind Brian Tyler: you’ll see two sets of numbers, like this 12 l 1 . That is a measure/beat counter that is timing the recording according to the measure and particular beat of said measure. That way, if Mr. Tyler wants to go back to, say, measure 100, he can select that on the computer and the recording will automatically transfer to that point.
Given how wonderful the music sounds, it is such a shame that Brian Tyler’s hard work is attached to a film that was so badly received (I haven’t seen it myself, but Roger Ebert was never one to pan a film without good reason). It is obvious to me that Tyler puts a great deal of his heart and soul into this music, and I hope that someday his music will receive the proper appreciation (hopefully in the form of an Academy Award).
Please enjoy this scoring session from Battle: Los Angeles (2011)
Today I’m going to try something a little different. Normally, when I post about a scoring session for a particular film score, there’s an interview accompanying it. However, for Teenage Mutant Ninja Turtles (2014), I found a sound-only clip showing composer Brian Tyler conducting a scoring session.
A scoring session is when the composer and the orchestra sit down and record the music piece by piece for the film. As a general rule the finished film (or nearly finished in some cases) is playing on a screen in front of the conductor, with the current scene corresponding to the music being recorded.
I thought I would share this clip with you because, even though I have never seen Teenage Mutant Ninja Turtles, I immediately found myself drawn into the music (it helps that Brian Tyler is a very energetic composer). This is partly why I chose to study film music: when you separate the music from the film, you can hear some very beautiful and wonderful things, and these are things I think everyone should hear at least once.
The music here is energetic, dynamic and surprisingly symphonic (I found myself reminded of Howard Shore’s style in some places) for an action film produced in 2014. Tyler’s style has clearly evolved since his work on Alien vs Predator: Requiem (yes, I actually sat through that movie, no I don’t know what I was thinking).
If Brian Tyler’s name is not familiar, then I think it will be in the next five years, he’s a very prolific film composer with an extensive filmography already. He’s already composed for a handful of MCU films (his score for Thor: The Dark World is half the reason I love that film so much) and he’s scheduled to compose the score for the live-action Power Rangers film due out next year.
This selection is only three minutes long, so if you have a spare minute this weekend, sit back, pop the headphones on, and give this a listen. I also dare you to listen with your eyes closed (by far the best way to listen to film music) and see what you think/feel. As I said, I thought I would try something new 🙂 Enjoy the music!
Film Music Central 