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John Williams in Jaws preparing the cage
Close Encounters conversation
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Some that spring to mind from film and television:
The end of "E.T." when they say good-bye and the ship takes off leaving a rainbow behind.
The end of the season five finale of "Buffy the Vamprie Slayer", written at the time to serve as a finale for the series since it had been cancelled (before another network picked it up). I can't find a good qaulity video of the scene, but here's Christophe Beck's wonderful score:
https://www.youtube.com/watch?v=C0a9b2ucnrU
The climax of "Jaws". "Smile you son of a bit--"
And I don't care what anybody says about the music, but when Kirk and crew see their new Enterprise at the end of "Star Trek IV: The Voyage Home" and then the burst into the end credits music, is just well nailed.
Speaking of Trek, from The Next Generation episode "The Best of Both Worlds" (I think part two):
https://www.youtube.com/watch?v=iRjiZZyD7n4 (isolated with only the music)
The opening sniper scene from "Dirty Harry".
The ending climax of the episode "Victoria's Secret" from "Due South":
https://www.youtube.com/watch?v=X_zSQ8jcgro
Speaking of "Due South", the episode "The Wild Bunch". Fraser's is told his wolf, Deifenbaker, needs to be put down. Finally Fraser catches up to him and decides he'll do it himself. The fun running music leading into the sad woodwind music is just wonderful (scored by Jay Semko, John McCarthy and Jack Lenz):
https://www.youtube.com/watch?v=PSjXDmgk_qA (about 41:40 in)
The motorcycle chase scenes from "The Great Escape".
Then of course there is the shower scene from "Psycho".
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Posted: |
Aug 19, 2015 - 7:25 PM
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By: |
bobbengan
(Member)
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Michael J. Lewis' THE PASSAGE.
1:02:10 seconds, and then 1:34:10:
https://www.youtube.com/watch?v=NpKKSL1axCs
Lewis' otherwise tense, militaristic score is allowed a few moments of truly sublime beauty. The finale, carried only by Lewis' music and unmarred by sound effects, is simply magnificent - I love the way the strings swell as Anthony Quinn's character looks around at the end, reflecting contently on the violent journey his character has been through, returns quietly to his cabin, and then the end titles explode with resounding magnificence over a sweeping aerial vista of the Pyrenees mountains. Sublime.
James Horner's widow music from KRULL, underscoring the most original and compelling sequence in that film, is a masterpiece of film scoring. The balance of Ligeti-esque screaming dissonance, giant chordal blasts of awe from the brass, and reverential choral lullaby - This is narrative musical storytelling of truly the highest order.
Basically all Basil's CONAN.
Trevor Jones' breathtaking finale music from THE DARK CRYSTAL, with its Respighi-esque sonorities, wordless female vocalise, chanting male voices and sumptuous build-up. Ridiculously great music.
David Julyan, a composer I otherwise frankly am not a huge fan of, wrote ridiculously perfect music for the finale of THE DESCENT - See for yourself: https://www.youtube.com/watch?v=5I_EmYwj7nw
So many more!
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Posted: |
Aug 19, 2015 - 7:41 PM
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By: |
BTTFFan
(Member)
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"The Clock Tower" from Back to the Future by Silvestri.
Those final minutes when Marty says goodbye to Doc knowing he'd be killed in the future, Doc finding and ripping up the letter, the branch unplugging his "weather experiment," Marty seeing he has little time to save Doc from certain death in 1985 while yelling to him he has "to tell him about the future," Marty racing to the starting line with less than 4 minutes until the lightning strike, Doc struggling with the wires hanging in front of the iconic clock tower, the DeLorean refusing to start as the alarm goes off, the DeLorean finally starting, Marty racing to the intersection, Doc re-attaching the cable only to unplug it from the other end, Doc sliding down the cable to the ground trying to beat the DeLorean to the intersection, Marty watching Doc as he connects the terminals right as the lightning bolt hits, Marty traveling back to the future, Doc's reaction sheer excitement as the time machine he hasn't invented yet works after all the failed inventions up to that point.
Tightly edited, great pacing, atmosphere, the car, the friendship between Doc and Marty, the simplicity of the scene, and of course Silvestri's dramatic 10 1/2 minute cue. A PERFECT scene.
I was hooked.
:Rambling over:
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Tuco's hunt for Arch stantons grave Ecstasy of gold, and the subsequent Trio gundown music. GBU. Ennio. 66
Fieldings opening credits as bunch ride in and the Lets go! March on mapaches cantina stronghold. wild bunch. 69
Winter march, goldsmith, Patton,
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“Farewell” from The Ghost and Mrs. Muir.
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