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- 24. Sept.letzte Folge
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#16 – The Adventures of Robin Hood
What ho! – #11 on the AFI’s list is Erich Wolfgang Korngold’s score for the 1938 Technicolor romp The Adventures of Robin Hood. Why did Korngold at first think he was the wrong man for the job? What does the score sound like both before and
#15 – Vertigo
We won’t keep you hanging – #12 on the AFI’s list turns out to be Bernard Herrmann’s score for the 1958 Hitchcock psychological thriller Vertigo! How do Herrmann’s musical suspensions perfectly serve the Master of Suspense? Why was this sto
#14 – King Kong
Rampaging onto the AFI’s list at #13 is Max Steiner’s score for the 1933 fantasy adventure classic King Kong. Did Steiner invent film music in the first place? Does this music have more in common with modern scores or silent film accompanim
#13 – E.T. the Extra-Terrestrial
John Williams makes his first appearance on the AFI’s list at #14, with his 1982 score for E.T. the Extra-Terrestrial. Why does this movie ask so much of its music? What’s the relationship between a composer and a temp score? And, how loud
#12 – 2018 Oscars Special
In this special super-sized episode, Jon and Andy take a break from their countdown of the AFI’s list, and examine the five films and composers nominated for this year’s Best Original Score Oscar. These wide-ranging scores come at the quest
#11 – Out of Africa
Look, up in the sky, it’s John Barry’s score for 1985’s Out of Africa! In the #15 score on the AFI’s list, does the melody for the famous airplane scene get enough use through the movie? When should the music connect one scene to the next,
#10 – Sunset Boulevard
Franz Waxman’s score for 1950’s Sunset Boulevard is ready for its closeup! Jon and Andy bring some differing viewpoints to their discussion of #16 on the AFI’s list. What musical reference joke does Waxman use for his love theme? Should the
#9 – To Kill A Mockingbird
Jon and Andy are excited to welcome a special guest onto the show! After their discussion of Elmer Bernstein’s score for 1962’s To Kill A Mockingbird, stick around to hear a chat with Emilie Bernstein – Elmer’s daughter and longtime orchest
#8 – Planet of the Apes
Jerry Goldsmith’s score for the 1968 sci-fi landmark Planet of the Apes was #18 on the AFI’s list the whole time! What technique does Goldsmith call on to sound so alien? What wacky instruments does he throw into the mix? And have we finall
#7 – A Streetcar Named Desire
Another Kazan/Brando collaboration turns up as the AFI’s #19: it’s Alex North’s score for the 1951 film adaptation of Tennessee Williams’ stage classic A Streetcar Named Desire. Why is North’s groundbreaking use of jazz so effective? Why wa
#6 – The Pink Panther
Now it’s time for the AFI’s #20: Henry Mancini’s score for the 1963 farce The Pink Panther. Why is the iconic Pink Panther tune such a great melody? When does Mancini feel the need to “hit things with the comedy hammer?” And did Blake Edwar
#5 – Ben-Hur
Miklós Rózsa’s score for the 1959 super-spectacular Ben-Hur trumpets its way onto the AFI’s list at #21. How were biblical epics like comic book movies? In such an immense film with such an immense score, what are the moments that don’t get
#4 – On the Waterfront
Counting down to #22 on the AFI’s list takes us to Leonard Bernstein’s score for the 1954 classic On the Waterfront. Were Lennie and Elia Kazan making the same movie? Is this the prettiest love theme ever? And, how is Jon’s Marlon Brando im
#3 – The Mission
#23 on the AFI’s list is Ennio Morricone’s score for the 1986 period drama The Mission. Why is the music accompanying Robert De Niro’s redemption so powerful? Is the “Gabriel’s Oboe” theme too noodly? And, what did Jon say to Ennio when he
#2 – On Golden Pond
Next up is #24 – Dave Grusin’s score for On Golden Pond (1981). When does Grusin decide to just score the scenery, and when does he dare to get inside Katherine Hepburn’s performance? What changed between 1981 and 1991 about how joy sounds?
#1 – How the West Was Won
Jon and Andy kick off their show by talking about #25 on the AFI’s list – Alfred Newman’s score for the 1962 epic western How the West Was Won. As they figure out what they’re doing, they consider: How should music be used for action sequen
