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Off the top of my head, many of them sadly unreleased:
Rain Man - Zimmer
Jesus Of Montreal - Laferriere
A World Apart - Zimmer
The Man With One Red Shoe - T Newman
Firestarter - T Dream
Risky Business - T Dream
Red Heat - T Dream
Far From Home - Elias
Streetwise - Elias, Lasarenko, Doddy
Flashfire - Levay
Pulse - J Ferguson
Full Eclipse - Chang
Blade Runner - Vangelis
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I'll say it again, I'm sure:
PREDATOR 2 - complete
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Love Theme Finale from 'The Saint'. Is that the end title? One of my favorite cues ever.
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I've been here before too, but I'd like to regurgitate some good oldies -
Alfred Newman's THE GREATEST STORY EVER TOLD. That was quite lengthy for its day (and I still remember taping it from the TV, my wee shakey hand holding the microphone, hoping to God (HA!) that the Titles wouldn't be cut off.
All the Roger Corman movies based on Poe stories. Pure Art (mostly Les Baxter music, but one particularly good animated scene for the End Credits of MASQUE OF THE RED DEATH, with a stupendous dirge from David Lee - who he?)
More up to date, yes, THE RUSSIA HOUSE. Great music (though I can't remember if they're against any visuals - I think not).
The Corman horrors were the first things that sprang to mind with the thread title.
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The DARK KNIGHT
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CutThroat Island
Empire Strikes Back
Superman 78
Indiana Jones and the Temple of Doom
Star Trek II
DUNE (love that string overlay)
Rambo II (unused)
Supergirl (Overture version)
Die Hard With A Vengeance (Albiet an editorial assembly)
The Rocketeer
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Legends of the Fall for me...I don't think anyone comes close to Horner regarding End Title suites (IMHO...totally subjective, obviously)...speaking of which...I really miss the days when scores had legit end title suites...they seem exceedingly rare these days.
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Posted: |
Dec 8, 2019 - 11:22 AM
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By: |
Thgil
(Member)
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This is an absolutely fascinating thread to me.....for a very negative reason!
When Papalazarou posed his thread title, he didn't say "Best end title music ever". He said, "Best end titles ever", which implies first of all, a picture, and then, its accompanying score, which has been carefully wrought to the images---like all good scores should be.
But virtually everyone here has interpreted it as being a piece of music only --- in effect, simply exit music for most of the audience.
I have often wondered if the posters on this board really make a distinction between the idea of scoring the drama, emotion, action or comedy, of the pictorial images and script, or simply writing a nice (and sometimes wonderful) piece of music that accompanies a length of film or black leader.
Most of the end title music I hear these days sounds a lot like nice music cues from the recording sessions strung together by the music editor after the fact because the composer probably had gone on to other jobs by the time the end titles were shot and their final length was previously unknown to him.
If the composer has, in fact, written a piece of music to "cover" the end title section, he probably has done it well in advance without knowing the timings, and it often seems slightly too short and must be padded somewhere, or too long and must be cut somewhere. It often does not "sit" properly on the title unit.
Oh no. The terminology isn't what you would have chosen. I guess we all get an F now on our group project.
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There are more end titles now that have some sort of visuals or even story going under the credits than in days past. But that didn't used to be the case very often so that wasn't what I was thinking from the original post.
The distinction I make is "Is it new music or is it a needle drop from the film". There are gray areas, of course.
Someone mentioned The Empire Strikes Back. This is one of the best examples of using the film's themes in almost entirely new statements. And it has the most awesome transitions, which is nice. Star Wars comes in a close second. Ok, it's arguably better but Empire is my favorite.
I was just telling my kids about when I was waiting in line for Empire opening week and when the doors opened to let out the audience from the previous show I heard the end titles to Star Wars. And THEN the new music. It's a template that charms me to this day.
Jedi just felt more like a mish mash of concert arrangements and that's pretty much been Williams' MO ever since. On the very short Jedi LP we got to hear Luke and Leia and Parade of the Ewoks almost in their entirety twice! And then there's the Last Crusade CD which had Keeping up with the Jones, Scherzo For Motorcycle And Orchestra, AND the End Titles with a complete restatement of Scherzo!
Someone mentioned The Abyss. I may have to go reacquaint myself, because I recall that being a collection of pieces from the film. But it's an amazing score.
Same year, same composer: Back the the Future II gets right up on my line. It's all music from the film but in a more concert friendly setting. It's one of my favorites.
When I read the thread title the first thing I thought of was Silverado. Can You Dig It from Iron Man 3 is pretty awesome.
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