Carpenter is the only filmmaker in history who is as beloved for his musical creations as he is for his movies. Yes-they would, as evidenced by yet another new greatest hits album, Anthology II. When a record label approached Howarth about producing a soundtrack album for Escape From New York, Carpenter’s response was: “Really? Somebody would want to listen to that stuff?” “He’s very humble about it,” says Alan Howarth, Carpenter’s other synth guru and cocomposer for many years. ‘Let me have a violin.’ Until recently, I’ve really never been conversant with the machinery at all.” I would say, ‘Let me have a bass sound, Dan,’ and he would do it. Nor does he claim any understanding of the analog contraptions he used to create his famous scores. “To him, it was noodling-but it was really intelligent noodling.”Ĭarpenter’s the first person to play down his musical acuity: “I don’t have great chops, on anything,” he says. “That’s what really allowed Halloween to work,” says Wyman. The director knew enough about music theory to take his haunting hook around a sequential series of harmonic keys known as the “circle of fifths,” which meant he could rotate the obsessive riff almost endlessly. “John had a particular skill set that was unconscious,” says Dan Wyman, the synth programmer and orchestrator who helped Carpenter achieve the Halloween score. ![]() There’s a lot of TV out there. We want to help: Every week, we’ll tell you the best and most urgent shows to stream so you can stay on top of the ever-expanding heap of Peak TV. “The stuff you hear on my early albums is all me playing,” Carpenter says, “and, boy, it has to be simple if I’m doing it.” Carpenter played a handful of simple ideas on a grand piano and synth keyboard, conjuring them up in the moment while smarter techs made the actual machines work. The result was one of the most spine-tingling yet downright danceable film scores ever produced. So he popped into a synth studio operated by a fellow USC alum and quickly whipped together a lean, economical score that would give the film some of the tension and propulsion and electric jolts that were missing on the screen. The mother of invention forced his hand-Carpenter’s shoestring budget for Halloween, $300,000, meant that he was the only composer he could afford-and the best tool at hand for a director with no formal musical training and no money in 1978 was a synthesizer. A battle between the English playboy and heartthrob Hunt and on the other side the ambitious and systematically perfect sportsman Lauda.John Carpenter wrote one of the most iconic movie themes of all time in a rush, out of necessity, and basically by noodling on a keyboard. Only six weeks later he sits again in the Ferrari and begins a brilliant catch-up chase. In 1976, Lauda’s Ferrari skidded and he crashed, nearly burning to death. In “Rush” the true story about the rivalry between the Austrian Niki Lauda (Daniel Brühl) and the English racing driver James Hunt (Chris Hemsworth) is shown. Timestamp: 1:46 | Scene: James wins the world championship by one point. Timestamp: 0:46 | Scene: Song can be heard at the Brazilian World Cup. Timestamp: 0:41 | Scene: James gets drunk after being told they haven't found a sponsor. Timestamp: 0:37 | Scene: James loses the world championship to Niki. Timestamp: 0:31 | Scene: Niki gets a ride from a woman at the party. ![]() Timestamp: 0:30 | Scene: Clay takes Niki to visit some friends. ![]() Sono Una Donna Non Sono Una Santa - Rosanna Fratello Timestamp: 0:13 | Scene: James wins the Driver of the Year trophy and of course celebrates this event. Timestamp: 0:08 | Scene: Song can be heard during the first race. Timestamp: 0:06 | Scene: Nancy and James arrive at the race track.
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