The most recent trailer for Blade Runner 2049 dropped yesterday, and it’s absolutely fantastic.
The follow-up to the 1982 sci-fi classic Blade Runner is one of this year’s most highly anticipated movies. It’s set to star Ryan Gosling and Jared Leto, and also include a return from the OG blade runner, Harrison Ford.
Blade Runner was a revolutionary film from Alien director Ridley Scott. It combined beautifully groundbreaking visuals, a unique story, and class acting performances from both Ford and Rutger Hauer.
But one of the most important parts of the film is its music. And that tradition is carried on in the newest trailer for its sequel.
The music used in both the original film and this new Blade Runner 2049 trailer is the epitome of sci-fi. It completely encapsulates everything that Blade Runner is without ever having to use any words to do so.
Greek composer Vangelis (also known for Chariots of Fire) was the mastermind behind the original Blade Runner score. And the duty to follow that up has been placed in some very capable hands.
Composers Jóhann Jóhannsson (Sicario and Arrival) and Benjamin Wallfisch (Hidden Figures) will join forces with the man, the myth, the legend, Hans Zimmer (we’ll get to him later) for Blade Runner 2049.
If the trailer is any indication, the trio has discovered the perfect way to tell this story. And it feels as though this could be one of those cases when you later can’t picture the movie being accompanied by anything other music.
Sometimes, a composer (or multiple ones) just gets it. And when that happens, a piece of music becomes synonymous with not only the film, but an entire genre.
Here are a few examples of composers finding the perfect balance and creating scores that will be remembered forever.
There really should be no confusion as to why or how John Carpenter found the perfect score for the 1978 film Halloween. After all, it was his baby.
Carpenter didn’t just compose the music for the classic horror movie. He also wrote the screenplay and directed it.
The film’s theme is the very definition of horror. It’s a bit strange to describe a piece of music as scary, but I think that would be a fair assessment of Carpenter’s Halloween score.
But it’s Carpenter’s musical side that is perhaps the most interesting thing about his career.
After creating so many cherished soundtracks, Carpenter took his music on tour for the first time in 2016. He has also released two studio albums, entitled Lost Themes (February 2015) and Lost Themes II (April 2016).
It’s more than fair to say that John Carpenter is not only a legend of the film industry, but one in the music business as well.
I don’t know about you, but I get chills whenever I hear the theme to Star Wars. And that was maybe never more true than when I first saw this trailer for Star Wars: The Force Awakens.
Williams has composed the score for almost 150 movies, documentaries or television shows. This includes Jaws, E.T. the Extra-Terrestrial, Raiders of the Lost Ark (and rest of the Indiana Jones series), Jurassic Park, Saving Private Ryan, and far too many more classic films to name.
But his work on the Star Wars films may be what many fans best know him for. And can you really blame them?
Williams’ scores for the Star Wars movies are arguably some of the greatest and most recognizable pieces of music ever created. You could play the theme for someone who hasn’t even seen the movies, and they would likely still know what it’s from.
And Williams isn’t slowing down any time soon.
His long-standing partnership with Steven Spielberg continued last year when Williams composed the score for the director’s most recent film, The BFG.
And now the composer is set to take on this year’s Star Wars: The Last Jedi, as well as Spielberg’s next film entitled The Papers. And as expected, his IMDb page also has him listed as the composer for the ninth episode in the Star Wars saga and an untitled Indiana Jones project.
John Williams has been nominated for a whopping 50 Academy Awards. That makes him the second-most nominated individual ever, only behind Walt Disney himself.
The man keeps going, but he certainly cemented his legacy as a master composer many years ago.
Perhaps the biggest name in film composer game, Hans Zimmer can do no wrong. And after over 30 years in the business, we might actually just now be seeing the best of the German maestro.
I’m not sure a score has ever been so perfect for any movie as Zimmer’s was for Dunkirk. It was truly a perfect fit and the music is one of the main reasons Dunkirk is able to keep the viewer on the edge of their seat, despite limited dialogue or character development.
Zimmer has composed brilliant scores for movies such as Inception and Interstellar. He worked on the TV mini-series The Pacific, and even produced the music for the wildly successful video game Call of Duty: Modern Warfare 2.
But it is his work on the The Dark Knight that is the most significant to me.
Not only is The Dark Knight one of my favourite movies ever, but it also contains my favourite scene in any film I’ve ever watched.
That final scene in The Dark Knight is absolute perfection, and that’s largely due to the music accompanying it.
I’ve probably watched that movie about 15 times, and have replayed that scene well over double that amount. And still, after knowing exactly what I’m about to see and hear, I still get chills.
I wrote an article about the best movie soundtracks a few months ago, and detailed how a collection of songs can really make or break a movie. Well, that idea is probably even more applicable to this discussion.
These composers have together left their respective marks on what may be close to 100 classic films. And their legacies continue to grow with each piece of music they create.