Moments in film music that surprised you

[BLUMENKOHL 1,068]

You know, you're sitting along listening to a soundtrack, you're in a good track, you're into it, you think you know where it's going, and then the composer throws you a curve ball...and it sounds so brilliant!

Some examples I can think of:

- You get the big boomy and tragic intro to "Operation Varsity" in MoH: Airborne, and you think you're going into a wild ride but instant the distant rumbling timpani start playing a vaguely familiar tune that slowly reveals itself to be a twist on one of Giacchino's best themes for the MoH franchise.

- Total Recall, "The Implant," you get the action cue, but near the end, just as you think it's about to fade out, Jerry adds those two notes of brass, that redefine the tone of the track.

- Return of the King, "The Lighting of the Beacon," at the end, the nature theme builds and builds, and you think Shore will cut it into the Rohan theme, but instead the brass keep on going, playing a magnificent version of the theme. <- It had been a while since I watched DVD, and stereotypically I thought shore would take it into the Rohan theme.

- Hidalgo, "Montage," right down the middle....male wailing, how fun could it possibly be? It dies down...one of the most magical moments in film music starts playing, and the vocals return, fit together with perfection.

[ChuckM 1]

The Perfect Storm (James Horner). That really fast section played by french horn (I think?) followed by trumpets with the electric guitars in the background.

[Koray Savas 2,251]

Vide Cor Meum from Hannibal.

The track ends, it was nice and beuatiful, and you have a long pause. Tracks over, must be! Then you are hit with this loud bang! I fell out of my bed...

[indy4 155]

3:22 to 3:33 of Farewell from Pocahontas. It sounds like a grand ending is arriving, but then it twists away and you get about a minute more of sheer brilliance, followed by an even grander ending than the nonexistant one that was expected earlier.

0:56 of Helen Frees the Mariner from Waterworld. You think you'll be getting the same treatment as you did for that theme, but it twists away into some wonderful and slightly playful swashbuckling music.

[Koray Savas 2,251]

March From 1941.

Lush, vibrant theme, amazing cue! You think it ends, but then you get a little treat at the end. Some nice quiet little drums to finish it off.

[John Crichton 4]

The first time I listened to Confrontation With Count Dooku and Finale. Slow, mournful, and then....boom! Imperial March! Then the short interlude then...double boom! Imperial March, full statement, orchestra blasting it out to the rafters! One of my favorite listening moments ever.

And if I can talk about the opposite, correctly calling something before it plays: the first time I saw RotK, the scene with Smeagol and Deagol, when Deagol comes out of the river with the rings and looks at it I think "Seduction of the Ring, come on!". Two seconds later, here's the boys choir...

[Ray Barnsbury 8]

Hmm, off the top of my head I remember being very taken aback by "Buckbeak's Flight" as a whole during the AOL Listening Party. Instead of the typically major-key, unabashedly enthusiastic Williams flying music I was anticipating, here was this thunderous drum opening leading into a darkly majestic, sweeping, and incredibly atmospheric piece. It took me a couple listens to get into, just because I was expecting something so different. And that segment beginning at 0:57 when the trumpets come...oh man. Still gets me every time!

[odnurega1 0]

Hmm, off the top of my head I remember being very taken aback by "Buckbeak's Flight" as a whole during the AOL Listening Party. Instead of the typically major-key, unabashedly enthusiastic Williams flying music I was anticipating, here was this thunderous drum opening leading into a darkly majestic, sweeping, and incredibly atmospheric piece. It took me a couple listens to get into, just because I was expecting something so different. And that segment beginning at 0:57 when the trumpets come...oh man. Still gets me every time!

I agree completely. Totally not what I expected, but great nonetheless.

[indy4 155]

I'd also like to add the variation of the Trade Federation march heard at the end of "A Bounty's Pursuit."

March From 1941.

Lush, vibrant theme, amazing cue! You think it ends, but then you get a little treat at the end. Some nice quiet little drums to finish it off.

The Raiders March is similiar in that it has that nice little end piece to it.

The first time I listened to Confrontation With Count Dooku and Finale. Slow, mournful, and then....boom! Imperial March! Then the short interlude then...double boom! Imperial March, full statement, orchestra blasting it out to the rafters! One of my favorite listening moments ever.

Yes, that is one of the best variations of the Imperial March theme in the entire saga (IMO), despite it not totallly working with the film.

Hmm, off the top of my head I remember being very taken aback by "Buckbeak's Flight" as a whole during the AOL Listening Party. Instead of the typically major-key, unabashedly enthusiastic Williams flying music I was anticipating, here was this thunderous drum opening leading into a darkly majestic, sweeping, and incredibly atmospheric piece. It took me a couple listens to get into, just because I was expecting something so different. And that segment beginning at 0:57 when the trumpets come...oh man. Still gets me every time!

God, that piece is amazing.

[Delorean90 42]

And if I can talk about the opposite, correctly calling something before it plays: the first time I saw RotK, the scene with Smeagol and Deagol, when Deagol comes out of the river with the rings and looks at it I think "Seduction of the Ring, come on!". Two seconds later, here's the boys choir...

I had the same thing happen with the "You bow to no one" statement of the Shire theme. It was just set up in the tone of the scene and the sound of the music--I would've been ticked off if it had been done any other way.

[Henry B 50]

I had the same thing happen with the "You bow to no one" statement of the Shire theme. It was just set up in the tone of the scene and the sound of the music--I would've been ticked off if it had been done any other way.

Yes! It happened exactly as I had imagined it would.

[QMM 4]

Knight Bus really surprised me when I first heard it.

Applies to tv scores as well but whenever Giacchino quotes his MoH work, be it in Incredibles, Ratatouille, or Lost, I'm always pleasantly surprised

[indy4 155]

I've always loved 1:24 - 1:31 of "One Day" from PotC: AWE.

Also 1:15 - 1:21 of "Rescuing Sarah" from The Lost World.

1:04 - 3:17 of "Maestro" from The Holiday. It's a medicocre cue, until 1:04, where it becomes one of HZ's finest works.

0:59 - 1:11 of "Ride the Dragon" from Shrek.

2:50 - 3:12 of "Silver Leaves" from Treasure Planet.

[Maglorfin 196]

Vide Cor Meum from Hannibal.

The track ends, it was nice and beuatiful, and you have a long pause. Tracks over, must be! Then you are hit with this loud bang! I fell out of my bed...

Yes, I also immediately thought of that, as well as Horner's FaceHuggers from Aliens. That incredible violin harmonics stuff (which I'm not sure how it was notated and performed) all but dies, when at 0:35 tam-tam enters with fff immediately dampened hit that can blast the speakers apart. Incredible, fantastic. Also some other Aliens tracks have pretty decent stings in them, which can scare the sh*t out of an unprepared listener.

[Delorean90 42]

It's funny that you bring up Aliens, because when I first listened to "A New Face" from Alien on my computer, that last big sting didn't bother me. I listened to it again with my Dad several days later in the car, and even though I knew it was coming, it made me jump!

[tpigeon 3]

- Hidalgo, "Montage," right down the middle....male wailing, how fun could it possibly be? It dies down...one of the most magical moments in film music starts playing, and the vocals return, fit together with perfection.

I couldn't agree more. It's stunning, that moment. I rarely listen to that score, but when I do that cue always sneaks up on me. And each time it's like experiencing the transcendance that you know music is capable of but rarely achieves. I think I'll listen to this now...

Ted

[Maglorfin 196]

It's funny that you bring up Aliens, because when I first listened to "A New Face" from Alien on my computer, that last big sting didn't bother me. I listened to it again with my Dad several days later in the car, and even though I knew it was coming, it made me jump!

That's a funny story. Did your Dad jump too? Better watch out what music you're listening to when driving ...

Of course, Ben Gardner's Boat is undoubtedly also as suitable an example as any.

[Delorean90 42]

Hehe...no, he didn't jump. I wonder if the anticipation can help startle you as well...I dunno. With the music playing in open air, I was able to listen to it louder, too, so that probably played a part in the startle. But anyhoo...

[Docteur Qui 1,544]

Knight Bus really surprised me when I first heard it.

Applies to tv scores as well but whenever Giacchino quotes his MoH work, be it in Incredibles, Ratatouille, or Lost, I'm always pleasantly surprised

May I ask where - apart from the Underground theme in Ratatouille - does he quote his MoH work?

[QMM 4]

Knight Bus really surprised me when I first heard it.

Applies to tv scores as well but whenever Giacchino quotes his MoH work, be it in Incredibles, Ratatouille, or Lost, I'm always pleasantly surprised

May I ask where - apart from the Underground theme in Ratatouille - does he quote his MoH work?

1:26 in Lithe or Death on the Incredibles is the V2 rocket theme and during the last season of LOST he quoted his submarine theme when Locke was on a sub, unreleased though.

[Pieter Boelen 740]

LOL! But where is the quote in Ratatouille? Is it on the OST?

[QMM 4]

LOL! But where is the quote in Ratatouille? Is it on the OST?

2:28 in Colette Shows Him the Ropes

[Pieter Boelen 740]

Ah! Thanks very much! Wouldn't have noticed that if you hadn't told me, but it IS there. Just the first few notes though. Really cool.

[Luke Skywalker 1,795]

The whole ROTK score was a surprise for me. Lush orchestrations compared with the other two.

But i now regard the trilogy as one great work

[ASW 0]

Don't know if this hads been mentioned yet, but the very last moments of Goldsmith's end credits cue to Poltergeist have quite an unusual turn.

[Henry B 50]

Here's a new one: the end of the Superman IV end credits!

[Ollie 1,059]

Georges Delerue's score to Joe vs The Volcano. You expect a comedy but the score is very tender and lovely at times, makes you feel like it was written for a drama.