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The Bruce Broughton thread


Matt C

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I've searched the forum, but surprised not to see a Bruce Broughton thread here. I know he doesn't do much work these days, but he did some incredible scores. Lost in Space, Tombstone and Silverado. Some of his more underrated scores I like are Rescuers Down Under and This Girl for Hire.

Any one else?

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I've searched the forum, but surprised not to see a Bruce Broughton thread here. I know he doesn't do much work these days, but he did some incredible scores. Lost in Space, Tombstone and Silverado. Some of his more underrated scores I like are Rescuers Down Under and This Girl for Hire.

Any one else?

Young Sherlock Holmes?

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Bruce Broughton is a wonderful composer who should have gotten more plumb assignments.

Aside from the titles mentioned above:

The Boy Who Could Fly

Harry And The Hendersons

Narrow Margin

Honey I Blew Up The Kid

The Blue and the Gray

Eloise at Christmastime / Eloise at the Plaza

The First Olympics - Athens 1896

George Washington II: The Forging Of A Nation

Homeward Bound

Homeward Bound 2

Plus his conducting he did for Intrada on 3 of their Excalibur re-recordings is superb.

I wish he could have scored a HP film.

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I wish he could have scored a HP film.

Parts of "Young Sherlock Holmes" feel very HP-ish. Not just the score, the film itself too.

Agreed. It's a fun little film, a wonderful score with an incredible main theme (and B-theme) and he would have been excellent on Potter.

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Bruce Broughton is a wonderful composer who should have gotten more plumb assignments.

Oh, if what Koray said in the John Powell thread -- if Broughton scores Captain America, it'll definitely give him a career boost.

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I don't think he is retired. He does a lot of theme park music for Disney in their parks.

From his website:

Bruce Broughton turns 65 today.

But don't speak about retirement to the Oscar- and Grammy-nominated, multi-Emmy-winning composer. He seems to be busier than ever, with projects in multiple arenas of music-making – from concert-hall commissions to high-profile animation projects to theme-park rides – and he remains a leader in the Hollywood music community,

Bruce's website

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Does he not work because he's retired or something?

He's keeping busy with concert works I think. Hollywood sadly seems to have given up on classically trained quality composers.

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I need to check out his Lost In Space. The only two I'm really familiar with are Tombstone and Silverado. And yeah, they're both great.

Karol

Definitely. It's a very rich, thematic fantasy-adventure score. It may not be high art, but given that it was written in a surprisingly short time, nothing to complain about at all. Just make sure you don't accidently get the song album; it's atrocious.

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Bruce Broughton is a wonderful composer who should have gotten more plumb assignments.

Oh, if what Koray said in the John Powell thread -- if Broughton scores Captain America, it'll definitely give him a career boost.

Did I say that?

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Did I say that?

No, but you did say the contender who might end up with the gig is one that Mark O. likes a lot. Surprise, Mark O. likes Broughton -- a lot. That doesn't mean anything, though.

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I have various Broughton tracks on the current Walt Disney World soundtrack. He may be the single most represented artist on that set. Maybe I'm wrong about that, but at least four tracks are credited to him: Spaceship Earth, O Canada, Ellen's Energy Adventure and Honey, I Shrunk the Audience. The nearly 11-minute Spaceship Earth suite is also one of the longest tracks. I think he does good work.

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I have various Broughton tracks on the current Walt Disney World soundtrack. He may be the single most represented artist on that set. Maybe I'm wrong about that, but at least four tracks are credited to him: Spaceship Earth, O Canada, Ellen's Energy Adventure and Honey, I Shrunk the Audience. The nearly 11-minute Spaceship Earth suite is also one of the longest tracks. I think he does good work.

Oh, sweet, cool! I wasn't aware of that!

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  • 4 weeks later...

Ah yes, but I said composers!

Another thought that came to me a few minutes ago. I was listening to their promo CD, and it hit me right then.

Is it William Stromberg and John Morgan? They work together, and they can nail a superb Americana theme for Captain America.

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Broughton scored that movie? Had no idea. I haven't seen it but I don't think I've ever heard a positive review.

The movie is a guilty pleasure of mine but the score he wrote is quite excellent. It's too bad that Intrada couldn't have made it a full complete 2-CD set.

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He also seems wonderful person in real life - very kind and friendly, with nice sense of humour.

I wish he composed more these days, and for major motion pictures.

I share that same sentiment. A lot of these blockbuster action scores that come out these days lack the talent and class Broughton brings to his. Imagine what movies like Pirates movies, Iron Man movies, the later HP movies, Transformers movies, etc. would be like if Broughton scored them. He did wonders for Lost In Space. Besides Gary Oldman, Broughton was the best thing about that movie. Broughton really elevated that movie and added a lot of emotion that may have been lacking. Especially with the father and son moments. I never get tired of that Intrada album when I listen to it. It's gets better and beter everytime for me. That's my favorite Broughton score and got me into his music. In fact I listened to this and Goldsmith's great ST:V TFF two Sundays ago. I haven't listened to LIS for few months and after listening to it again it made me think of why I love that score and why I got into Brougton's music in the first. And eventhough I saw Monster Squad years before LIS but never knew Broughton composed it. LIS really made me more aware of his music. As well as made me interested in his other work. In addition to LIS and TMS, I also have Silverado and Tombstone. Which are also great, of course.

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Always considered him the ultimate Hollywood "craftsman"....a man who knows his way around an orchestra, but who doesn't really have a striking musical voice.

That said, I've always loved his SILVERADO, as much for the music as for how it is USED in the film, adding a sense of operatic proportions to it (the western genre itself being a manifestation of a particular myth). Mixed loudly, very melodramatic. Like the scene in which Danny Glover's dad is killed by the river, if memory serves.

He's not retired, though. Last thing I heard was that he helped (orchestrated?) the orchestral elements of Daft Punk's TRON: LEGACY.

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  • 4 years later...

Broughton scored that movie? Had no idea. I haven't seen it but I don't think I've ever heard a positive review.

The movie is a guilty pleasure of mine but the score he wrote is quite excellent. It's too bad that Intrada couldn't have made it a full complete 2-CD set.

Sorry for the 4 year bump, but THIS ! :yes::worship:

LIS = FANFARISTIC and GOBSMACKINGLY EXCELLENT

The movie is a guilty pleasure for me too, it has all the light-hearted fun and rollicking old-school space adventure that so many modern blockbusters lack.

The special effects still amaze me to this day, incredible CGI (for the space scenes)

The most enjoyable score Bruce has ever done IMO. Listening to the Intrada at least once a year is something of a life-altering experience.

Incredibly, this used to be an okay score back in the day for me. Like fine wine, it only got better with time !!

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I have a soft spot for Broughton's Westerns, Tombstone and Silverado, and Young Sherlock Holmes (thank you Intrada!). The Lost in Space is not bad either. ;)

I just wish his career would have blossomed more in the 90's and noughties. Luckily Intrada has done its best for years to sing his praises and release his scores (was it over 30 albums or something).

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I much prefer Tombstone over Silverado, apart from a couple of wonderful cues Silverado almost puts me to sleep. :blush:

I have yet to listen for the first time to The Boy Who Could Fly, but I'm expecting it to be great.

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I like both Westerns equally. Silverado has a killer main theme and does indeed have some dead spots here and there but on the other hand Tombstone has a main that is not used extensively enough. I know Broughton gradually builds to it throughout but I would like to hear more of it throughout. So they are about even in my books. Young Sherlock Holmes is almost like an homage to the whole 1980's John Williams/Steven Spielberg adventure movie sound but with Broughton's own twist. It is really my favourite of his works. I need to delve into Lost in Space further. It has a great old fashioned adventure score feel to it as well.

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Overrated

Not at all. Excellent.

I'm another fan of Broughton's (can't believe I never contributed to this thread the last couple of times around). Silverado was among my earliest scores—part of the "core" group that included much of JW's Golden Age stuff, Goldsmith's major works, and Horner's early stuff. Every Broughton score I've come across since then has always impressed me, even when I went into it with low expectations (as with Lost in Space, where I wouldn't have blamed him for giving a crappy film a sub-par score). I just love the boldness of his orchestration and arrangement. He isn't afraid to get the whole orchestra involved. His works have a great celebratory style to them, not unlike a lot of Williams' stuff during the 70s and 80s.

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Lost In Space is am awesome score.... And also the only Broughton score I own!

Broughton deserves more than that from you. Some of my favorites include:

Silverado

Young Sherlock Holmes

The Boy Who Could Fly

The Thanksgiving Promise (TV)

Harry and the Hendersons

Moonwalker

Rollercoaster Rabbit (short)

The Old Man and the Sea (TV)

The Rescuers Down Under

O Pioneers! (TV)

Honey, I Blew Up the Kid

Stay Tuned

Homeward Bound

Tombstone

Baby's Day Out

:wub:

Indeed!

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I think Broughton's strength is in writing terrific themes, but he doesn't tread water as well as other favorite composers of mine. As others mentioned, there are a lot of dead spots in his scores sometimes, Silverado being a good example (although as his debut film score, it's entirely forgivable.) His highs are extremely high, but then his work can meander a bit, averaging the whole listening experience out.

Young Sherlock Holmes really isn't overrated, but there are some spots in there where he gets too chaotic for me, and not in a good way. But the good parts are dripping with melody, mystery, and a really appealing human warmth.

Lost in Space is quite fun. There's a lot to enjoy there, and pretty amazing considering it was a rush job.

And yeah, his EPCOT stuff is really swell.

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YSH seems like one of those scores to me where the OST is too short, the 2CD sets are too long, and I have no idea what the highlights are since all the cues are so short and I've never seen the movie.

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YSH seems like one of those scores to me where the OST is too short, the 2CD sets are too long, and I have no idea what the highlights are since all the cues are so short and I've never seen the movie.

Absolute highlights?

Main Title

Watson's Arrival

Library Love/Waxflatter's First Flight

Fencing with Rathe

Solving the Crime

Holmes and Elisabeth (Love Theme)

Rametep

Pastries and Crypts

It's You!

Waxing Elisabeth

Temple Fire

Ethar's Escape

Duel and Final Farewell

The Riddles Solved and End Credits

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