Classic Ross Amico

Tag: Bullitt

Movie Music for Speed Mad Max Bullitt Grand Prix

This week on “Picture Perfect,” we’ve got the need for speed!

With yet another Mad Max movie in theaters, we’ll revisit music from the second installment in the series, “The Road Warrior” (1981). Australian composer Brian May (no relation to the Queen guitarist) wrote the music for the first two films. The director, George Miller, specified that he was looking for a gothic, Bernard Herrmann-type mood to underscore his dystopian vision of a post-apocalyptic Australian Outback.

Maurice Jarre took over to write the music for the third installment, “Mad Max Beyond Thunderdome,” but it’s purely by coincidence that we’ll hear selections from another Jarre score built for speed, “Grand Prix” (1966). The film’s international cast includes James Garner, Eva Marie Saint, Yves Montand, and Toshiro Mifune, but the plot’s assorted relationship and business conflicts take a back seat to driver’s-eye views of lapping the track.

When we remember Steve McQueen, chances are one of the first images that springs to mind is that of McQueen behind the wheel of his Ford Mustang GT 390 Fastback, tearing up and down the streets of San Francisco in “Bullitt” (1968). The high-octane action sequence became the yardstick against which all big screen car chases were measured (at least until “The French Connection”). Lalo Schifrin provided the jazzy score.

Finally, Marty McFly and Doc Brown’s time-travelling DeLoreon needs to hit 88 miles per hour in order to get “Back to the Future” (1985). Director Bob Zemeckis had already worked with composer Alan Silvestri on “Romancing the Stone,” but the producer of “Back to the Future,” Steven Spielberg, didn’t care for the music in that film. Zemeckis’ advice to his colleague: go grand and epic, since Spielberg had a marked preference for the music of John Williams. It was a very good choice.

I hope you’ll join me for an hour of chases and races, on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of Oregon.

Just be sure you’re not driving when you do!

Clip and save the start times for all three of my recorded shows:

PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EDT/8:00 AM PDT

THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

Stream them, wherever you are, at the link!

https://kwax.uoregon.edu/

June 7, 2024
Lalo Schifrin’s Bullitt & Movie Car Chases

June 21 marks the 90th birthday of Lalo Schifrin. This week on “Picture Perfect,” we put the pedal to the metal with his iconic score for “Bullitt” (1968).

When we remember Steve McQueen, chances are, if he’s not jumping barbed wire on a motorcycle, he’s behind the wheel of his Ford Mustang GT 390 Fastback, tearing up and down the streets of San Francisco. The high-octane action sequence became the gauge against which all other big screen car chases were measured (in tandem with “The French Connection”). We’ll hear selections from Schifrin’s jazzy, influential, King of Cool cop score.

We’ll also have music from the second of the “Mad Max” movies, “The Road Warrior” (1981), which cleverly changed the course of the series by turning it into a kind of post-apocalyptic Western. Australian composer Brian May wrote the music, as he did for the original. The director, George Miller, specified that he was looking for a gothic, Bernard Herrmann-type mood to underscore his dystopian vision of the Australian Outback.

Maurice Jarre took over to write the music for the third installment, “Mad Max Beyond Thunderdome.” It’s purely by coincidence that we’ll hear selections from another Jarre score that’s built for speed, “Grand Prix” (1966). The film’s international cast featured James Garner, Eva Marie Saint, Yves Montand, and Toshiro Mifune, but the plot’s assorted relationship and business conflicts take a back seat to driver’s-eye views of lapping the track.

Finally, Marty McFly and Doc Brown’s time-travelling DeLoreon needs to hit 88 miles per hour in order to get “Back to the Future” (1985). Director Robert Zemeckis had already worked with composer Alan Silvestri on “Romancing the Stone,” but the producer of “Back to the Future,” Steven Spielberg, didn’t care for the music in that film. Zemeckis’ advice to his colleague: go grand and epic, since Spielberg had a marked preference for the music of John Williams. It was a very good choice.

We shift into high gear for an hour of chases and races, with Lalo Schifrin and friends, on “Picture Perfect,” music for the movies, this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org!

June 18, 2022
Movie Music for Speed Demons

What’s your hurry?

This week on “Picture Perfect,” we’ve got the need for speed.

We’ll hear music from the second of the “Mad Max” movies, “The Road Warrior” (1981), which cleverly changed the course of the series by turning it into a kind of post-apocalyptic Western. Australian composer Brian May wrote the music, as he did for the original. The director, George Miller, specified that he was looking for a gothic, Bernard Herrmann-type mood to underscore his dystopian vision of the Australian Outback.

Maurice Jarre took over to write the music for the third installment, “Mad Max Beyond Thunderdome.” However, it’s purely by coincidence that we’ll hear selections from another Jarre score built for speed, “Grand Prix” (1966). The film’s international cast featured James Garner, Eva Marie Saint, Yves Montand, and Toshiro Mifune, but the plot’s assorted relationship and business conflicts take a back seat to driver’s-eye views of lapping the track.

When we remember Steve McQueen, chances are, if he’s not jumping barbed wire on a motorcycle, he’s behind the wheel of his Ford Mustang GT 390 Fastback, tearing up and down the streets of San Francisco in “Bullitt” (1968). The high-octane action sequence became the yardstick against which all big screen car chases were measured (at least until “The French Connection”). Lalo Schifrin provided the jazzy score.

Finally, Marty McFly and Doc Brown’s time-travelling DeLoreon needs to hit 88 miles per hour in order to get “Back to the Future” (1985). Director Robert Zemeckis had already worked with composer Alan Silvestri on “Romancing the Stone,” but the producer of “Back to the Future,” Steven Spielberg, didn’t care for the music in that film. Zemeckis’ advice to his colleague: go grand and epic, since Spielberg had a marked preference for the music of John Williams. It was a very good choice.

I hope you’ll join me for an hour of chases and races, on “Picture Perfect,” music for the movies, this Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

Just be sure you’re not driving when you do!

July 27, 2018
Need for Speed Movie Soundtracks Mad Max & More

This week on “Picture Perfect,” we’ve got the need for speed.

With Mad Max back in theaters, we’ll have music from the second installment in the series, “The Road Warrior” (1981). Australian composer Brian May wrote the music, as he did for the original. The director, George Miller, specified that he was looking for a gothic, Bernard Herrmann-type mood to underscore his dystopian vision of a post-apocalyptic Australian Outback.

Maurice Jarre took over to write the music for the third installment, “Mad Max Beyond Thunderdome,” but it’s purely by coincidence that we’ll hear selections from another Jarre score built for speed, “Grand Prix” (1966). The film’s international cast featured James Garner, Eva Marie Saint, Yves Montand, and Toshiro Mifune, but the plot’s assorted relationship and business conflicts take a back seat to driver’s-eye views of lapping the track.

When we remember Steve McQueen, chances are one of the first images that springs to mind is that of McQueen behind the wheel of his Ford Mustang GT 390 Fastback, tearing up and down the streets of San Francisco in “Bullitt” (1968). The high-octane action sequence became the yardstick against which all big screen car chases were measured (at least until “The French Connection”). Lalo Schifrin provided the jazzy score.

Finally, Marty McFly and Doc Brown’s time-travelling DeLoreon needs to hit 88 miles per hour in order to get “Back to the Future” (1985). Director Bob Zemeckis had already worked with composer Alan Silvestri on “Romancing the Stone,” but the producer of “Back to the Future,” Steven Spielberg, didn’t care for the music in that film. Zemeckis’ advice to his colleague: go grand and epic, since Spielberg had a marked preference for the music of John Williams. It was a very good choice.

I hope you’ll join me for an hour of chases and races, this evening at 6 ET, with a repeat tomorrow morning at 6; or that you’ll listen to it later as a webcast, at http://www.wwfm.org.

Just be sure you’re not driving when you do!

May 15, 2015

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