Pittsburgh – from ‘Cashback’.
The Proud Gallery – from ‘Cashback’.
It has been said (and can succinctly be argued) that a film’s score can sell a scene as good as (and often better than) any actor, as the musical components tend to lend a cinematic depth that can reveal much more than pure dialogue alone. A memorable film score can provide an added edge that can ‘make or break’ a scene, accentuate an actor’s delivery, and suffuse a character with layers that would otherwise largely go unnoticed without an aural connection.
John Barry, English composer, was a master at capturing the galactic grandeur of a Main Title, one who understood the inestimable power of understated simplicity, and possessed the skill to craft three dimensional progression throughout the course of his tunes. The timeless elegance that accompanies his work hearkens back to the old Hollywood theme of big scores, big instrumentation, and big musical personality, all tidied up and packaged into a tightly orchestrated, multi-layered track. John Barry, a composer whose vibrant, melodic pieces reveal a magnitude that digs straight to the heart of a script, and whose tunes resonate magically with any dialogue.
Indecent Proposal – Indecent Proposal –
Dances with Wolves – John Dunbar Theme –
Dances with Wolves – The Love Theme –
Dances with Wolves – Kicking Bird’s Gift –
Dances with Wolves – Farewell and End Title –
Dances with Wolves – The Buffalo Hunt –
Dances with Wolves – Rescue of Dances with Wolves –
The Scarlet Letter – The Love Theme –
My Life – End Title –
Night Games – Descent Into Decadence –
The Black Hole – Overture –
The Black Hole – End Title –
Out of Africa – Main Title –
On Her Majesty’s Secret Service – Main Theme –