Category Archives: Films on Wax

Hello Moviedrone!

Hi! You might have noticed things have changed. As of today, Films On Wax has officially become Moviedrone. I imagine this is confusing, so I’ll try and explain why. Films On Wax – as good a name as it is/was – was originally chosen in mind with the approach we were taking, which was a focus on looking at soundtracks on the vinyl format (hence the wax). For many reasons, mainly because it’s prohibitively expensive, it’s never been something we…

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Snakes (A)Live! Raiders at the Royal Albert Hall (March 2016)

If adventures has a name, it must be… Indiana Jones. This promotional slogan attached to 1984’s Indiana Jones and the Temple of Doom is as true today as it was back in 1984. The epic four day marathon of Raiders of the Lost Ark in Concert at Royal Albert Hall in London has now ended and audiences seemed to have enjoyed this classic film immensely when accompanied by a live simultaneous performance of full symphony orchestra. It’s amazing how this 1981 films hasn’t aged a day since its original release. In a way, it might be even more endearing now…

Snakes (A)Live! Raiders at the Royal Albert Hall (March 2016)

The Hateful Eight

Quentin Tarantino can be a really polarising filmmaker. By some, he’s hailed as a pulp auteur with an original take on popular genres and with a great affection for traditional techniques. Others, on the other hand, might see him as a mere remix artist of obscure tropes and stories, stylishly repackaged for new generations. In either case, he made quite a career for himself, spanning over two decades, and received a significant critical acclaim for his eight feature films and handful of guest-directing duties on other people’s projects. The Hateful Eight marks a significant turn in his career, from a musical perspective…

The Hateful Eight

Six of the Best… Female Film Composers

Wendy Carlos The obvious one. After releasing Switched On Bach, a collection of the classical works of Johann Sebastian Bach performed on a Moog synthesiser, Carlos was hired by Stanley Kubrick to create the esoteric soundtrack to A Clockwork Orange. Carlos further contributed to Kubrick’s adaptation of Stephen King’s The Shining, with that iconic and portentous opening title cue, but perhaps her most accomplished work was for Disney’s 1982 science fiction adventure Tron, with the video game aesthetic allowing for a unique and innovative blend of orchestral and electronic elements. Debbie Wiseman One of the film score world’s best kept…

Six of the Best… Female Film Composers

The Blue Max

The early career of Jerry Goldsmith, once he made the jump from television to films, seemed to know no bounds. Not only did he get a chance to score some high profile films and within varied genres but also worked on almost half a dozen each year and seemed to bring with him inexhaustible energy and invention to each one of them.  In 1966 the composer scored no less than 6 films and wrote music for two different television shows, which yielded such classics as The Sand Pebbles, Gunsmoke and the First World War aviation spectacle The Blue Max.  The…

The Blue Max

Sequencing: The Terminator (1984)

It’s over. The area is in flames, fragments of exploded truck strewn everywhere. The heroine and the hero embrace in relief, ecstatic that their love will now survive their fate. Suddenly they catch sight of shifting metal and see a nightmarish vision rise before them. The hunt is still on – and the hunter will absolutely not stop until Sarah Connor is dead. One of the most iconic images in a movie full of iconic images is the scene of the Terminator endoskeleton rising from the flames in a violent act of mechanical rebirth. Sarah Connor and Kyle Reese look…

Sequencing: The Terminator (1984)

2015 IFMCA Awards Winners Announced!

INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS OF 2015 IFMCA AWARDS; JOHN WILLIAMS WINS THREE AWARDS FOR STAR WARS The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2015, in the 2015 IFMCA Awards. The award for Score of the Year goes to composer John Williams for his work on the massively popular and successful epic science fiction fantasy “Star Wars: The Force Awakens,” from director J. J. Abrams. IFMCA member James Southall said that “the Force remains strong in John Williams and long may it continue” and called the score…

2015 IFMCA Awards Winners Announced!

Six of the Best… Non-Barry Bonds

Live and Let Die (1973) The post-Connery era of James Bond began with a bang courtesy of a certain Beatle and his uber-producer. Live and Let Die is famous for the title track by Paul McCartney, but the excellent score was composed and arranged by the fab four’s producer, George Martin. Martin took on the assignment with relish, giving a great blaxploitation feel to the score while retaining the classical Barry strings. His interpolation of the McCartney theme is to die for, and his theme for Jane Seymour’s Solitaire is one of the best of the series. It’s a shame…

Six of the Best… Non-Barry Bonds