In the latest episode of our “Meet the Team” mini-series, Ian has the pleasure of talking with Sideshow co-founder, composer, host, head of social media and fellow Englishman, Wendell Jones.
Doctah Jones has a good old chinwag with his compatriot on where the spark for music came from, getting hooked on both Jerry Goldsmith and Joel Goldsmith, starting The Carnival, falling in love with Mexico, meeting Will in the Twitterverse and the birth of Sideshow, the stories behind his work as a composer, banging his erhu, religiously watching Star Trek, what he’s anticipating on the silver screen in 2016 & heaps more!
00:00 Prometheus (Dark Frontier: The Original Series)
21:27 Red Alert (Dark Frontier: The Original Series)
To finish off 2014, we each bring two of our favourite main themes to the table and discuss what they mean to us.
Our first selections include the militaristic Thunderbirds theme by Barry Gray, two themes from Bear McCreary including the musical palindrome that is Da Vinci’s Demons and the unsettling main theme to the television series Caprica, the unforgettable Tara’s Theme from Gone with the Wind by the prolific film composer Max Steiner. For the second round of choices we discuss the beautifully majestic Star Trek Voyager theme Jerry Goldsmith composed, the amazingly bombastic Wing Commander theme by David Arnold, the beautiful, childlike theme for To Kill a Mockingbird by Elmer Bernstein, and the infamous and arguably greatestsuperhero theme of all time, John Williams’ Superman theme.
1:49 – Thunderbirds
8:58 – Caprica
15:41 – Da Vinci’s Demons
25:18 – Tara’s Theme – Gone with the Wind
31:29 – Star Trek: Voyager
38:05 – Wing Commander
47:35 – To Kill a Mockingbird
53:23 – Superman
Links from this episode:
Bear McCreary’s blog post on writing Leonardo’s Theme for Da Vinci’s Demons
Join us for the debut episode of Sideshow Sound Radio, as we discuss the film scores that inspired each of us to become composers.
Starting with the symphonic and unashamedly emotional Star Trek First Contact score by Jerry Goldsmith and his son Joel Goldsmith, featuring an amalgam of almost all the Star Trek themes the film composer brought to the franchise including two new thematic gems, we go on to discuss the extremely underrated Thomas Newman and his intimate and well-crafted Meet Joe Black score featuring the heartbreaking cue “That Next Place”. Next, we discuss Frank Herbert’s Dune Soundtrack by Graeme Revell and the untraditional orchestration the composer used to help reflect the story of the three-part sci-fi mini-series, and finally, Danny Elfman’s dark, memorable, and tone-setting Batman 1989 score, orchestrated and conducted by the film score genius that was Shirley Walker.
2:06 – Our composing backgrounds
6:01 – Star Trek: First Contact
17:53 – Meet Joe Black
26:13 – Frank Herbert’s Dune
34:12 – Batman (1989)
Links from this episode:
Interview with film composer Graeme Revell on creating the music for “Frank Herbert’s Dune” (2000)
Danny Elfman’s amazing 1990 open letter to Micah Rubenstein as mentioned in this episode