Tag Archives: film music

101 Dalmatians “Cruella de Vil” (1961)

James Newton Howard talks The Village (2004)

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Like practically every M. Night Shyamalan film ever created, The Village is a strange film. An isolated village in the middle of the forest lives in fear of strange “monsters” that inhabit the woods all around them, but (as you might expect from a Shyamalan film), things are not exactly what they appear to be.

I’ve never actually seen this film all the way through, but I do recall my jaw smacking the floor when I read a synopsis and found out what the big twist in the story was. Depending on who’s watching, you either see the twist coming a mile away or you have no idea what’s coming at all (I’m definitely the latter).

What I DO know about this film is its soundtrack. This is another example of the work of James Newton Howard (Atlantis: The Lost Empire), in fact his work on this score earned him his fourth Academy Award nomination for Best Original Score (unfortunately he lost to Finding Neverland). This short video takes us into the scoring process for The Village and highlights the contributions of Hilary Hahn, the violinist whose solo work is one of the best parts of the soundtrack. It’s always fun to learn about the scoring process of a film, and even though I’m not the biggest fan of M. Night Shyamalan’s work, I did enjoy watching how the score for The Village came together, and I hope you enjoy it too.

If you’ve seen The Village, let me know what you thought of the film in the comments below 🙂

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James Newton Howard talks Atlantis: The Lost Empire (2001)

James Newton Howard talks Signs (2002)

James Newton Howard scoring King Kong (2005)

Film Composer Interviews A-H

Film Composer Interviews K-Z

Don’t forget to like Film Music Central on Facebook 🙂

Danny Elfman talks Alice in Wonderland (2010)

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Danny Elfman talks Alice in Wonderland (2010)

If I’m perfectly honest, Alice in Wonderland (2010) should be included in my “Didn’t Think I’d Like it (But I did!)” series because, well, I really didn’t think I would like it when the previews arrived. But during my spring break that year I went to see the film because a friend of mine wanted to see it and I actually enjoyed it.

This film is actually something of a sequel to the first Alice in Wonderland (1951) because Alice is now grown up and has all but forgotten her childhood adventure in Wonderland (renamed here as “Underland”), believing it all to be just some fanciful dream she had. Finding herself on the cusp of being forcefully pushed into a marriage she doesn’t want, Alice unexpectedly returns to Wonderland/Underland, where, as it turns out, she must slay the Jabberwocky, defeat the Red Queen and return the White Queen to power. Mayhem and insanity ensues, including a hilarious sub-plot where Alice accidentally grows into a larger person and briefly joins the Red Queen’s court as a woman named “Um” (due to a misunderstanding when the Queen asked her name and she was fidgeting on how to answer).

One of the highlights of this film is the musical score by Danny Elfman. The composer is well known for his collaborations with Tim Burton, and this effort is one of their more memorable efforts in recent years. The film is also notable for using the voice of Alan Rickman (RIP) as the voice of the Caterpillar.

In the brief interview I found, Elfman briefly talks about his work on the film’s score (I always love watching interviews like this one, I just wish they could be longer!). I hope you enjoy this interview clip.

See also:

Danny Elfman talks Batman (1989)

Danny Elfman talks Batman Returns (1992)

Danny Elfman “Planet of the Apes” scoring session (2001)

Danny Elfman talks Spider-Man (2002)

Danny Elfman talks Meet the Robinsons (2007)

Danny Elfman talks Fifty Shades of Grey (2015)

Danny Elfman talks Alice Through the Looking Glass (2016)

Film Composer Interviews A-H

Film Composer Interviews K-Z

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

“Jyn Erso and Hope” from Rogue One, my thoughts…

See also:

Film Soundtracks A-W

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All Dogs Go to Heaven 2 “It Feels so Good to be Bad!” (1996)

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There are a few things that have always bothered me about a number of animated sequels. Most of the time, the voice cast is completely different, the animation is inferior, and the music…well, is not the best. MOST of the time, all of the above is true, and certainly this is the case with All Dogs Go to Heaven 2 (1996, I cannot believe this film is 21 years old).

This completely unnecessary sequel to the charming (and very scary) All Dogs Go To Heaven features an all new adventure with Charlie (now voiced by Charlie Sheen), Itchy (Dom DeLuise), and their eternal nemesis Carface (now voiced by Ernest Borgnine), who has literally made a deal with a devil cat named Red (George Hearn). To summarize: Charlie is bored stiff in Heaven, he longs for some kind of adventure or excitement. Well, he gets it when Carface steals Gabriel’s Horn (on Red’s orders), and attempts to bring it to him. Without the Horn, the gates of Heaven cannot open and no new dogs can enter. Learning the horn is somewhere in San Francisco, Charlie successfully convinces Annabelle (head angel/dog in Heaven) to let him and Itchy go to retrieve the horn. Meanwhile, Carface ends up working more closely with Red, there’s a runaway human boy named David in the mix, etc. and so on (sorry I’m not good with brief summaries).

There is ONE bright spot in this piece of mediocrity though, and that’s the villain’s song “It Feels so Good to be Bad!” Red (strongly implied to be the very pet of the devil himself) is performed by George Hearn, a legendary performer on the Broadway stage. He won acclaim as Sweeney Todd, starred as Max in the original Broadway production of Sunset Boulevard, and he also performed as the Wizard in Wicked from 2004 to 2005.

You can hear his Broadway experience in “It Feels So Good to Be Bad!” In fact, the whole song feels like it was created with Broadway in mind. At the start, Carface is jabbering on about how he and Red can use the horn to open any bank or safe they please, but Red has much grander things in mind (up until this point he has been masquerding as an elderly dog). He wants Carface to think of the big picture, and drags him into a corner of Hell (that’s what it looks like anyways) to explain. Hearn’s vocal range is impressive, and I love the way he banters with and torments Carface for bungling the theft in the first place. There is a nice allusion to Hearn’s time as Sweeney Todd when Red grabs a straight razor blade and gives Carface a “shave” (taking off all his fur in the process).

Oh Carface…he’s so stupid, and that’s one of the details that bug a lot of people who watched the original. In THAT version, Carface was ruthless, conniving, downright bloodthirsty!! Here, he’s noticeably downgraded to slightly better than an imbecile. One could make the argument that spending time in Heaven erased at least some of his viciousness (despite any arguments he might make to the contrary). Another factor could be that, in finding himself confronted with TRUE evil, something snaps in Carface’s brain.

I just love listening to this song. The rest of the film is meh, not so good, but for this scene at least, Red is a villain par excellence.

I hope you enjoy this great song (it really is the best part of the film).

All Dogs Go to Heaven “Let Me Be Surprised” (1989)

For more animated songs, check out the main page here: Disney/Dreamworks/Pixar/Etc. Soundtracks A-Z

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Pocahontas “Savages, Part II” (1995)

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At the conclusion of “Savages, Part I”, the English settlers and the warriors led by Powhatan were preparing for battle (with the latter planning to execute John Smith first thing in the morning). Meanwhile, Pocahontas has fled to Grandmother Willow, upset and depressed that everything is falling apart and the man she’s so recently fallen in love with is going to be executed and there’s nothing she can do to stop it.

Pocahontas “Savages, Part II” (1995)

Grandmother Willow tries to give some advice, reminding Pocahontas of her dream, but she isn’t in the mood to hear it. Meeko, however, is inspired to dig inside his hole in the tree for something.

This “something” turns out to be John Smith’s compass, which contains a large arrow shaped needle inside (Meeko had swiped it during an earlier meeting and Smith had let the raccoon keep it). Pocahontas watches the compass and realizes that as she turns it in her hands, the arrow/needle spins, just like the arrow in her dream!!

From the moment Pocahontas picked the compass up, the music has begun to pick up in intensity (clearly signalling that something big is about to happen). When she makes the connection between the compass needle and her dream, it picks up a little more. At the peak, there is a short, instrumental refrain of “Listen With Your Heart” as several things happen at once: the sun rises (it’s time for the execution) and the compass needle comes to a stop pointing directly east. The meaning is clear: Pocahontas needs to stop the execution.

With this decision made, the song resumes with an abrupt cut to Ratcliffe literally walking out of the sunrise, cutting a villainous figure in his black armor. At the same time, Powhatan and his warriors begin the march to the execution site (with Smith in tow) while, in a THIRD musical thread, Pocahontas begins her run to stop an all-out war!

And, according to the song, Pocahontas truthfully doesn’t know if she can stop this war from happening, but with the power of the spirits (which she invokes along the way), she’s certainly going to try. This semi-hopeful verse is sharply contrasted with the two warring sides who are basically singing the same words (so I’m copying the verse in full):

(Them:)This will be the day/This will be the morning/We will see them dying in the dust

(Pocahontas): I don’t know what I can do/still I know I have to try

(Them):Now we make them pay!

(Pocahontas): Eagle help my feet fly!/(Them): Now without a warning

(Pocahontas): Mountain help my heart be great/(Them): Now we leave ’em blood and bone and dust

(Pocahontas):Spirits of the Earth and Sky/(Them): It’s them, or us

(Pocahontas): Please don’t let it be too late!!/Them: They’re just a bunch of filthy, stinking…

(Them): Savages, savages/demons, devils (kill them!)/savages, savages, what are we waiting for? Destroy their evil race, until there’s no a trace left!

(Pocahontas): How loud are the drums of war!!/Them: Now we see what comes, of trying to be chums/ Pocahontas: Is this the death of all I love, carried in the drumming of…

(All): WAR!!!

Towards the end, all three groups converge at a cliff where the tribe has assembled to execute Smith as revenge for Kocuom’s death. While the approaching settlers watch in horror, Powhatan prepares to crush Smith’s skull with a war hammer (a club with a large stone set in it). At the last moment, Pocahontas darts forward and throws herself over Smith before the hammer can fall.

Saved!!! For now anyway. Pocahontas has an ultimatum: if Powhatan wants to kill John Smith, he has to kill her too, and also she loves him (to the surprise of her father). All of this, Pocahontas says, is the result of walking a path of anger. She, meanwhile, will choose love.

Moved by what his daughter has said, and seeing the slaughter that will come if they continue, Powhatan swears that if there will be any more killing “it will not start with me” and he orders Smith to be released. Everyone begins to lower their weapons, and war seems to have been averted…which is great…right?

Ratcliffe doesn’t think so. This was his big chance to take the Indians out and now the battle isn’t happening at all!. He tries to take advantage by shouting for his men to fire, but the settlers aren’t having it. The whole point of attacking was to rescue Smith, but the tribe has let him go so clearly they don’t want to fight (and therefore neither should they). Seeing his control slip away, Ratcliffe decides to force the issue, grabbing a musket and taking aim at Powhatan. Smith sees this and shoves the chief out of the way just as Ratcliffe fires, taking the bullet instead. Instead of sparking a new conflict, this backfires horribly and Ratcliffe finds him at the receiving end of the settlers’ wrath (a great comeuppance for Ratcliffe by the way, since he ends up being hog-tied by the end).

So on the one hand, the day is saved, but on the other, John is badly injured. This is one Disney film that won’t have the typical ending. How do I mean? Well, you’ll have to check out the finale to find out 🙂

It nearly goes without saying that “Savages, Parts I and II” are one of my favorite Disney songs and I hope you enjoyed reading about it and listening to it.

You can become a patron of the blog at: patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

For more Pocahontas, see also:

Pocahontas “The Virginia Company” (1995)

Pocahontas “Steady as the Beating Drum” (1995)

Pocahontas “Just Around the Riverbend” (1995)

Pocahontas “Listen With Your Heart” (1995)

Pocahontas “Mine, Mine, Mine!” (1995)

Pocahontas “Savages, Part I” (1995)

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Pocahontas “Savages, Part I” (1995)

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I wanted to save this song for last, but I couldn’t hold out any longer!!!

With practically every Disney film ever made, there comes a point where events spiral out of control and everything is on the verge of disaster!! “Savages, Part I” begins at such a moment: Kocuom is dead at the hands of Thomas, but only Pocahontas and John Smith know that. The warriors who capture Smith assume that, as the only white man present, that HE fired the shot, and even if Pocahontas told them the truth, they wouldn’t believe her. Chief Powhatan is beyond disappointed in his daughter and he also blames her for Kocuom’s death (“because of YOUR foolishness, Kocuom is dead!”)

Pocahontas “Savages Part I” (1995)

But the turmoil in the village is nothing compared to what’s brewing in the English camp. Thomas has gone racing back to report Smith’s capture, rousing everyone in the process. Ratcliffe is secretly delighted by this turn of events; he’s been itching for any excuse for an all out attack on the “savages” and this provides the perfect opportunity.

“Savages” begins with Ratcliffe stirring the settlers into a frenzy, reminding them that these “savages” are no good, they deserve to die because they’re different, etc.For example:

What can you expect/from filthy little heathens/here’s what you get when races are diverse!

Their skin’s a hellish red/they’re only good when dead/they’re vermin as I’ve said and worse!!

Actually, the soundtrack version of the song is much nastier, the opening line goes: …from filthy little heathens/their whole disgusting race is like a curse! (I think they realized when they developed this song, that they were going a step too far and they adjusted the line for the home video release of the film.)

Theses opening verses are so openly racist that in the years since its release, this song in particular has gotten a lot of flak, with critics saying the song’s sentiments are completely inappropriate.While is is true that “Savages” expresses racist sentiments, that’s also the point of the entire song!! This song is fully exposing Ratcliffe as the evil, racist villain he’s always been, and the settlers are fully caught up in the wake of his ranting (except for Thomas, who has his own doubts).

They’re savages!
Savages! Barely even human!

Savages! Savages! Drive them from our shore!
They’re not like you and me, which means they must be evil
We must sound the drums of war!

They’re savages!
Savages!
Dirty shrieking devils!

Now we sound the drums of war!

With the English settlers ramped up to go to war, the song switches to Powhatan’s village, where the villagers are making preparations of their own. While the English consider the Indians to be “savages”, the natives consider the white men to be “demons” who must be wiped out before anyone else can die.

This is what we feared/the pale-face is a demon/the only thing they feel at all is greed.

Beneath that milky hide/there’s emptiness inside/I wonder if they even bleed??

They’re savages! Savages!

Barely even human! Savages! Savages!

Killers at the core…

They’re different from us,
which means they can’t be trusted…

We must sound the drums of war!

They’re savages!
Savages!
First we deal with this one
Then we sound the drums of war!

John Smith can only watch as the war preparations continue, with the Indians planning to execute him before the battle. The camera cuts back and forth to show how alike the two sides really are: both are arming for war, both are really angry and both are beating “the drums of war” (no matter how different they look, a drum is a drum.)

The truth is, both sides are blinded by hatred. Neither can see that they are equally human because one looks different from the other. It’s interesting how, in the song, each side is color-coded and made to look increasingly not-human (the English are colored orange/crimson and the Indians are colored indigo with war paint added on top of it).

Things are definitely out of control, and if the two sides meet, it’s going to be bad (mostly for the Indians, because the English settlers have a lot of muskets and cannons and arrows and spears will have practically zero effect on that kind of firepower.) What’s going to happen? Will John Smith die at sunrise? We’ll find out in “Savages, Part II” !!!!

You can become a patron of the blog at: patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

For more Pocahontas, see also:

Pocahontas “The Virginia Company” (1995)

Pocahontas “Steady as the Beating Drum” (1995)

Pocahontas “Just Around the Riverbend” (1995)

Pocahontas “Listen With Your Heart” (1995)

Pocahontas “Mine, Mine, Mine!” (1995)

Pocahontas “Savages, Part II” (1995)

Don’t forget to like Film Music Central on Facebook 🙂

James Newton Howard talks Atlantis: The Lost Empire (2001)

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I can’t say it often enough: Atlantis: The Lost Empire is one of the most underrated films that Disney has ever made. Seriously, the animation is beautiful, the story is great, and the MUSIC is one of the best parts! (See Atlantis: The Lost Empire “The Crystal Chamber” for more of my thoughts on this score).

If you haven’t seen the film, the story follows a young cartographer and linguist named Milo Thatch (Michael J. Fox), who is determined to prove the lost city of Atlantis (whose destruction we witness in the beginning of the film) exists and thereby clear his grandfather’s name (his late grandfather was a famous explorer who lost his reputation when he insisted that Atlantis was real). According to Thatch’s research, the key to discovering the location of the sunken city can be found in a mysterious artifact known as The Shepherd’s Journal. But as it turns out, his grandfather had already found the Journal in a previous expedition and left it to his friend, eccentric millionaire Preston B. Whitmore, to be held in his possession until Milo was “ready” to find Atlantis himself. Whitmore wants to help Milo because of a bet he made with his grandfather over whether or not Atlantis existed. Since Milo’s grandfather found the Journal, Whitmore agreed to finance any future expedition with the best materials and the best crew. To that end, Milo is introduced to mostly the same crew that helped Milo’s grandfather find the Journal in Iceland.

The most notable members include:

Tiberius Roarke: Commander and secretly a snake in the grass who wants to rob Atlantis of its treasures for huge profits
Helga Sinclair: Roarke’s lieutenant (and possibly some-time lover?) who is also in this for the profits (though she does express brief reservations when they discover Atlantis is still inhabited)
Vinny Santorini: a demolitions expert obsessed with making things go BOOM! Previously worked in a flower shop (though he’d prefer you didn’t know that)
Gaeton Moliere (better known as “Mole”), a geologist with an unhealthy dirt obsession. A line in the direct-to-video sequel implies he was raised by naked mole rats.
Dr. Joshua Strongbear: a doctor of African-American/Native American descent. He talks a lot but has a really good heart when push comes to shove.
Audrey Ramirez: A teenage mechanic from Puerto Rico and the youngest member on the expedition. If it has an engine, she can make it run. Her sister is a famous boxer.
“Cookie”: The expedition cook (though that term is used very loosely) who believes in HIS basic food groups: “beans, bacon, whiskey and lard.”

After numerous hurdles (including having their main ship blown to pieces by a mechanical Leviathan), the surviving crew arrive at Atlantis and are stunned to discover a living city inhabited by hundreds (if not more) of people. The surviving Atlanteans are still ruled by King Kashekim Nedakh (who was king when Atlantis sank under the sea) and his only daughter Kidagakash or “Kida” is heir to the throne. Roarke successfully bargains for the crew to stay the night in the city and Milo goes off to explore with Kida, who is fascinated to meet someone from the surface. Predictably, things go sour when it turns out that Roarke and the rest of the crew are actually mercenaries that have a taste for pillaging ancient treasures for profit. In this case, they’re after the semi-mystical “Heart of Atlantis,” the crystal that is currently keeping the city and its inhabitants alive. Kida is absorbed into the Crystal after Roarke deduces its location and Milo gives chase to bring her back before the entire city dies. After a lengthy battle (in which Roarke, Helga and the rest of the crew who didn’t side with Milo are killed), Milo decides to stay in Atlantis with Kida while Audrey, Cookie, and the rest of our heroes return to the surface (with an Atlantean ship filled to the brim with treasure as their reward for doing the right thing).

This film was my first exposure to James Newton Howard (The Hunger Games series, Maleficent), and I will defend this score forever. That being said, I was beyond happy when I stumbled across this interview on YouTube where Howard talks about his work on this film. And as Howard puts it, there are really two films going on in this story: there’s the action/adventure of finding Atlantis, and once our hero Milo arrives, a totally new story begins (with a new score to match). To help distinguish Atlantis musically, Howard used a variety of Balinese instruments (which favor bells and gongs) to create a very unique sound.

I hope you enjoy listening to this interview with James Newton Howard! If you also enjoy this film, let me know what you like about it 🙂

You can become a patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

James Newton Howard talks Signs (2002)

James Newton Howard talks The Village (2004)

James Newton Howard scoring King Kong (2005)

Film Composer Interviews A-H

Film Composer Interviews K-Z

Don’t forget to like Film Music Central on Facebook 🙂

John Debney talks The Jungle Book (2016)

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It’s no secret that I have mixed feelings about the live-action Disney remakes. It just so happens that The Jungle Book (2016) is one I dislike, only because I have very strong feelings for the animated original. My own feelings for the work aside, I have heard that the score was well done, not surprising since it was composed by John Debney (his musical magnum opus remains the score for The Passion of the Christ (2004)).

In this short interview, Debney talks about how he came to work on the score for the film, what kind of vision the director had and how Mowgli needed a theme of his own. But that’s not all I discovered. I also found a B-roll of footage from the scoring sessions, and I’m pleased to share it with you here. Please note around 1:58-2:00 the giant score that the composer is flipping through. You can also see a beat counter next to his head at the beginning of the video.

The Jungle Book scoring session B-Roll (2016)

I love watching scoring sessions, it’s something I really hope to witness firsthand someday in the future. I hope you enjoy this interview and the footage from the soundstage. I have a lot more interviews queued up and I can’t wait to finally get them published!

See also:

Film Composer Interviews A-H

Film Composer Interviews K-Z

John Debney (and Tom Morello) talk Iron Man 2 (2010)

John Debney talks The Scorpion King (2002)

John Debney scoring Predators (2010)

John Debney talks The Passion of the Christ (2004)

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Danny Elfman talks Meet the Robinsons (2007)

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There are (unfortunately) a lot of films in the Walt Disney canon that are extremely underrated, and Meet the Robinsons is one of them. I admit, when I saw the previews for this film, I didn’t think it was something I would like. How I ended up watching this film, I really don’t remember, but I do know that I was surprised by how much I enjoyed it.

Danny Elfman talks Meet the Robinsons (2007)

The film follows Lewis (Jordan Fry), a 12-year old orphan who is an aspiring inventor. He’s obsessed with locating his mother, who abandoned him at an orphanage as an infant. Lewis builds a memory scanner that he hopes will show him who his mother is, but in the midst of the science fair, a strange kid named Wilbur Robinson (Wesley Singerman) shows up (claiming to be a ‘time cop’) and before he knows it, Lewis is whisked off to a strange (and pretty wonderful) future.

In this future, there are flying cars, singing frogs and wonderful inventions for every aspect of life. It’s hundreds of times better than anything Lewis has experienced and he very much wants to stay. But first, Wilbur (who actually isn’t a time cop of any kind) needs Lewis’ help to fix one of his dad’s time machines (which crashed when the two boys got into an argument). Lewis agrees, on the condition that Wilbur take him to see his mother afterward. Lewis ends up meeting the rest of the Robinson family, all except Cornelius, the head of the family, who’s away on a business trip. Lewis really wants to be adopted by the Robinsons, but when they learn he’s from the past (and especially when they see his distinctive hair, they suddenly change their minds), upsetting Lewis, who now thinks they don’t really care about him. The truth is…kind of complicated. It turns out that Cornelius IS Lewis and Wilbur is his future son (apparently there’s no lasting harm to the space-time continuum if you meet your future family).

At the same time all of this is going on, a strange “Bowler Hat Man” has been seen sneaking around and stealing various items. It turns out that this is Lewis’ former best friend Goob, now grown up. Goob hates Lewis/Cornelius because his projects made him so tired he didn’t make an important catch at a baseball game and he became so bitter over it that he never got adopted. As a result, he ends up working with another abandoned invention of Cornelius’ named DOR-15 (“Doris”) with the aim of stealing Lewis’ very first invention and ruining HIS future. There’s a brief glimpse of a horrifying future where the entire human population is mind-controlled by clones of Doris (Doris appears as a bowler hat but it can clamp down and obscure the eyes when it’s controlling it’s victim). Lewis is able to end this future by promising to never invent Doris in the first place, and after briefly meeting his future self (how does this not disrupt the space-time continuum??), he is returned to his own time, now knowing that the future is going to be beautiful indeed.

Danny Elfman composed the music for this film and I think he did a brilliant job. The “Making of” video located above looks into how Elfman crafted the score and took inspiration from other cartoon composers like Carl Stalling (who was responsible for most of the music for the original Looney Tunes cartoons). There are some great shots of Elfman in the recording studio (with the work-in-progress film playing on a big screen).

Meet the Robinsons may be nearly 10 years old, but it’s still a fun film that you should definitely try (and the score is great to listen to as well). I hope you enjoy this look into the making of the music for Meet the Robinsons!

See also:

Danny Elfman talks Batman (1989)

Danny Elfman talks Batman Returns (1992)

Danny Elfman “Planet of the Apes” scoring session (2001)

Danny Elfman talks Spider-Man (2002)

Danny Elfman talks Alice in Wonderland (2010)

Danny Elfman talks Fifty Shades of Grey (2015)

Danny Elfman talks Alice Through the Looking Glass (2016)

Film Composer Interviews A-H

Film Composer Interviews K-Z

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)