Series of programmes exploring film music
22:29With the recent release of the new James Bond film ‘No Time To Die’, Matthew Sweet looks back on the music for Bond villains from John Barry to Hans Zimmer. Included in the programme is music for Bond and the villains in 'Goldfinger', 'Dr No', 'On Her Majesty's Secret Service', 'Spectre', 'You Only Live Twice', 'Moonraker', 'The Spy Who Loved Me', 'Live And Let Die', 'The World Is Not Enough', 'Octopussy', 'A View To A Kill', 'The Living Daylights', 'Tomorrow Never Dies', 'Skyfall', 'Casino Royale', and 'No Time To Die'.
19:54Matthew's theme is skin, featuring music for the screen as varied as The Singing Detective to The Girl With The Dragon Tattoo, and prompted by this week's new release, the first Tunisian film to be nominated for an Academy Award, Kaouther Ben Hania's 'The Man Who Sold His Skin' with a score by Amine Bouhafa. Also in the programme is music by Dan Romer, Jerry Goldsmith, Alberto Iglesias, Ron Grainer, John Williams, Trent Reznor and Atticus Ross, Harold Arlen and Mica Levi. The Classic Score of the Week is Jerry Goldsmith’s ‘The Illustrated Man’.
Mike Leigh's Music
27:17Matthew Sweet is joined by director Mike Leigh to talk about his ideas about music for films and to look back on some of the scores for films such as the historical dramas 'Mr Turner', 'Peterloo' and ‘Topsy-Turvy’. He first came to prominence with the Play for Today TV drama ‘Nuts in May’ in 1976, and for many years he was known for his improvised domestic dramas. He tells Matthew about his work with composers Andrew Dickson (‘Naked’, Mean Time’ and ‘High Hopes’) and Gary Yershon (‘Peterloo’, ‘Happy-Go-Lucky’ and ‘Another Year’). There’s jazz from Marianne Jean-Baptiste (‘Career Girls’) and an excerpt from one of Rachel Portman’s earliest scores (‘Four Days in July’). And we hear Carl Davis’s versions of Gilbert and Sullivan (‘Topsy-Turvy’). Mike Leigh’s work is celebrated by the BFI in October and November on the Southbank in London and at Home in Manchester, with the release of a new print of his 1993 classic ‘Naked’, and with the appearance of a new, revised version of ‘Mike Leigh on Mike Leigh’.
22:27Matthew Sweet with music for films inspired by the world beneath the surface including James Horner's music for 'The 33' and Bernard Herrmann's music for the classic 1959 version of 'Journey To The Center Of the Earth'. This week's featured new release is the First World War drama, 'The War Below' about the miners of Messsines who dug tunnels to employ high explosives deep beneath the Belgium trenches. The new sore is by the Finnish composer Anne Kulonen. The programme also includes music from Escape From The Dark, The Molly McGuires, Germinal, 10 Cloverfield Lane, The Descent, Beneath The Planet Of The Apes, and Beneath Hill 60. Matthew also meets compsoer Natalie Holt who talks about her score for the new Phyllida Lloyd film, 'Herself'.
22:15Matthew Sweet with a look and film music for movies with a disruptive vibe reflecting the launch this last week of Michael Caton-Jones's new film 'Our Ladies', about a group of school girls from the Scottish Highlands who spend a day partying, drinking and hooking up in Scotland's capital. Also in the programme is music for the varioues St Trinian's films, plus 'Rebel Without A Cause', 'Ferris Bueller's Day Off', 'Heathers', 'Suicide Squad', 'Birds of Prey' and the recent 'The Suicide Squad', 'Kick-Ass', and 'The Hundred Year Old Man Who Climbed Out Of The Window And Disappeared'. The Classic Score of the Week is 'West Side Story'.
Love Knows No Bounds
23:59Matthew Sweet presents a selection of film music inspired by the new film Reminiscence with a score by Ramin Djawadi, with a look at films in which the pursuit of love has to overcome extraordinary obstacles.
36:23Matthew meets Canadian film composer Christophe Beck, who wrote the music for both Frozen films, the Ant-Man franchise and The Hangover trilogy. Initially a music student at Yale where he wrote two musicals with his brother, the pianist Chilly Gonzales, he went on to study film scoring with Jerry Goldsmith at the University of Southern California. Starting out in television he won an Emmy for his work on Buffy the Vampire Slayer, before the cheerleading comedy Bring it On launched his film career. Other credits include Under the Tuscan Sun, Garfield, Crazy Stupid Love, Pitch Perfect, and Trolls. Christophe talks to Matthew about his latest film Free Guy, his love of modular synths, and how it feels when a film you score flops at the box office. Producer: Ruth Thomson
Indiana Jones and the Ruby Anniversary
22:51Matthew looks back on 40 years of Indiana Jones, with music from the franchise alongside some of the titles from the Golden Age of cinema that inspired both Steven Spielberg and George Lucas to re-imagine the genre. And Matthew also looks at the some of the films that have come in its wake, including Disney's 'Jungle Cruise', which is released this week. As well as Indiana Jones and 'Jungle Cruise', the programme features music from 'Romancing the Stone', 'King Solomon's Mines', 'Tomb Raider', 'Secret of the Incas', 'The Treasure of the Sierra Madre' and the 1950 version of 'King Solomon's Mines'.
He'll Be Back...!
20:55Matthew looks at music for the Tough Guy Movie, especially films featuring the creations of Schwarzenegger, Stallone, Bronson, Eastwood and Willis - heroes with staying power. In particular Matthew looks the changing career of Sylvester Stallone - and the Classic Score of the Week is the 1974 'Death Wish'. Includes in the programme is music by Roy Budd, Elmer Bernstein, Carter Burwell, Alan Silvestri, Lalo Schifrin, Isaac Hayes, Bill Conti, Ennio Morricone, Jerry Goldsmith, Howard Shore, Brian Tyler and Herbie Hancock Plus a track from Christopher Benstead's score for Guy Richie's new film 'Wrath of Man'.
34:36Matthew Sweet catches up with the prolific American film composer, artist and author Mark Mothersbaugh, founder of art-house band Devo and the composer of a new animated movie The Croods 2. Mothersbaugh talks about his extensive collaboration with the director Wes Anderson as well as why animation is, for him, the acme of artistic opportunities for film composers.