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Section Header
Alan Silvestri
(1950-)
Reviews in Filmtracks'
Top 100 Traffic Ranks:
#89.  Van Helsing
(updated daily)

Scores in Filmtracks'
Top 100 Voting Ranks:
#97.  Forrest Gump
(updated daily)

Filmtracks Editor's Recommendations:
Judge Dredd
Forrest Gump
The Abyss
Predator
Back to the Future

Related Page of Interest:
The Back to the Future Trilogy
(1999, re-recorded compilation)

Biography:
Alan Silvestri was born to second-generation immigrants on March 26, 1950, in New York City. First experimenting with music at a very young age in Teaneck, New Jersey, Silvestri began to consider a career in music instead of major league baseball at the age of 15. He attended Boston's Berklee College of Music, but had been there only two years when he moved to Las Vegas and began touring with R&B legend Wayne Cochran and the C.C. Riders band. Silvestri attempted to secure work as an arranger in Las Vegas, never once considering going to Los Angeles. Enticed by an offer to do the arrangements on a friend's album, he did finally move to Los Angeles. Silvestri arrived there to find that no actual recording contract had been issued, and after buying back the fraudulent agreement, he was stranded. While staying at the Travel Lodge motel on Sunset Boulevard, Silvestri met Bradford Craig. As a lyricist for some projects with Quincy Jones, Craig had been nominated for an Academy Award and a Golden Globe Award. He gave Silvestri some arranging assignments, which turned into the break he had been waiting for. A small production company had mistakenly asked Craig (only a lyricist) to score a film for them, and Craig literally put the phone on hold and asked Silvestri if he wanted to score it instead. Accepting the job at the age of 20, Silvestri's first score would be 1972's The Doberman Gang.

Having never scored a film and knowing nothing about the process, Silvestri picked up a copy of Earl Hagan's book "How to Score a Film" and read it cover to cover the night before his meeting with the film's producers. Nevertheless, his viable work for The Doberman Gang triggered a succession of low-budget film assignments for Silvestri until he landed a job with the hit TV series CHiPs in 1978. Silvestri scored approximately 120 hours of this popular show, and had just started to make a living as a composer when it canceled. After a work drought of some 18 months, Silvestri's phone rang again on a late 1984 night. One of the music editors that Silvestri had worked with on CHiPs said that a film he was working on was desperate for a musical sound that they hadn't been able to find to date. The conversation that Silvestri had with director Robert Zemeckis that night would prove to be one of the most important of his life. Zemeckis asked him if he could put together three minutes of music that would go with a South American sequence in Romancing the Stone. Based on Zemeckis' description, Silvestri stayed up all night in his home studio creating a three-minute demo for their meeting the next day. Upon meeting Silvestri, Zemeckis was immediately sold on his musical style, and the two men, wearing identical sweaters that day by chance, would both be launched a solid collaboration with Romancing the Stone.

Every single film Alan Silvestri and Robert Zemeckis would produce together would prove to be a success: Back to the Future Part I, II and III, Forrest Gump, Cast Away, Who Framed Roger Rabbit, Contact, What Lies Beneath, Death Becomes Her and, of course, Romancing the Stone. They also worked together on the TV-series Amazing Stories (1 episode) and Tales from the Crypt (3 episodes). Immediately after Romancing the Stone, however, Silvestri still had difficulty finding work for mainstream films, providing an electronic effort for Cat's Eye and a last minute orchestral score for Fandango in 1985. When Zemeckis would approach Silvestri for their first seriously big collaboration, he was nervous about his ability to write huge, inspiring orchestral music for a hit film. But for Back to the Future, he did just that, and received two Grammy Award Nominations for his achievement. Now comfortable in the industry, Silvestri went back to his musical roots and wrote electronic scores for The Clan of the Cave Bear, The Delta Force, No Mercy, and Flight of the Navigator in the late 1980's. His tense, atmospheric score for Predator in 1987 would begin a collaboration with producer Joel Silver that would lead to a sequel and several other assignments. With Alan Silvestri and Robert Zemeckis still bouncing kinetic energy off of one another, Silvestri received another two Grammy nominations for Who Framed Roger Rabbit? in 1988.

Silvestri would get the opportunity to score several large-scale sci-fi and action films in the 1990's, something he had once considered inconceivable in his musical aspirations. After a monumental score for James Cameron's The Abyss in 1989, he would offer strong orchestral scores for Judge Dredd in 1995, Contact in 1997, Cast Away in 2000, The Mummy Returns in 2001, and Lara Croft: Tomb Raider: The Cradle of Life in 2003. He also continues scoring children's films and romantic comedies, with an occasional interlude into the realm of suspenseful underscores. But Silvestri's greatest highlight is Robert Zemeckis' 1994 masterpiece Forrest Gump. With this score Silvestri proved that he could also easily compose the more 'heavy-weight' dramatic, emotional music that a diverse movie like Forrest Gump needed. Silvestri received universal appreciation for his score, and that attention was translated into nominations for an Academy Award, Grammy Award, and Golden Globe. In between his scoring assignments, Silvestri lives with his wife and son in the Northern California town of Carmel. They own a ranch with cattle, horses, and other various livestock. Silvestri removes himself from his studio to work at the ranch and ride the tractor for long hours. He also has a large piece of ground with grape vines used for growing his own wine. Silvestri is slated to compose the music for yet another Zemeckis film, The Polar Express, in 2004.





Robert Zemeckis and Alan Silvestri, 2000


"I enjoy wine but I don't get crazy about it. That's what I feel about film music. I enjoy it but I have other things in my life that I'm enjoying also. Wine is a symbol or an expression of the enjoyment of life and I think music is a very similar expression."
-- Alan Silvestri in 2002

In twenty short years, Alan Silvestri has transformed himself from a guitarist, drummer and arranger in various bands to one of the world's most in-demand film composers. Viewing composing from the perspective of a member of a sports team, and after composing several dozen scores for major motion pictures, Silvestri still creates music with the same zeal he had when he started in the business almost by accident. Through late night improvisation and a willingness to learn any genre of music, Silvestri continues to produce high quality scores and establish himself in Hollywood as a melody wizard and a musical chameleon. He has experimented with almost every type of film genre: comedy, action, romance, science fiction, animation, horror, drama, fantasy, western, thriller, slapstick, and adventure. His collaborators agree that it is truly remarkable that Silvestri is able to handle every genre exceptionally well. He instinctively has a deep understanding of what the core and emotion of a movie is and consequently produces music that fits perfectly within the film.

In his work, he possesses an exceptional talent for writing razor sharp, memorable themes and his sense of rhythm is even more remarkable. Silvestri is therefore considered to be the first choice for scoring comedies, which remain the most difficult film genre to score. His work in the action genre has demanded the same respect and attention as similar endeavors by legendary composer Jerry Goldsmith. His collaboration with director Robert Zemeckis is among the strongest in the industry, beginning in the mid-1980's with Romancing the Stone and Back to the Future and flourishing today. Silvestri continues to enjoy scoring film music, and he considers it a very important occupation, but there are certain limits to his workload. He is a man who can walk away from his studio and enjoy working with the tractor on his ranch, start a vineyard, or fly the skies of California. With a private pilot license, Silvestri often flies himself with his own jet plane to Los Angeles for sessions and meetings.



 Filmography/Reviews at Filmtracks:  

(see legend below for information on abbreviations and codes)
 Title FRVRVT CTRD TR DatesNotes
2013:
N
The Croods****3.061062||1,64605/13
2012:
Flight**
The Avengers***3.224684|||1,05905/12all albums
2011:
Captain America: The First Avenger****3.395317|||1,01707/11
2010:
The A-Team***2.912951||1,28706/10
2009:
A Christmas Carol***3.233241||1,10811/09
G.I. Joe: The Rise of Cobra***2.5848314||1,00008/09
Night at the Museum: Battle of the Smithsonian***2.973024||1,28506/09
2008:
(none)
2007:
Beowulf***3.325627||80012/07
2006:
Night at the Museum***3.486396|45512/06
The Wild****3.312853||79804/06
2005:
The Polar Express (co-wrote) (AW)***3.141760|||1,35309/09multiple albums
2004:
Van Helsing****3.833,851163||8904/04 - 04/09
2003:
Two Soldiers
Tomb Raider: The Cradle of Life****3.301,23743|||30809/03 - 01/09
Identity*2.84560||1,70202/12
2002:
Maid in Manhattan
Stuart Little 2
Lilo & Stitch***
Showtime
2001:
Serendipity****
The Mummy Returns****3.995,990170|||13005/01 - 01/09
The Mexican (co-wrote)***3.441,1935||41602/01 - 01/09
2000:
What Women Want****
What Lies Beneath**2.684,06312|50708/00 - 04/07
Reindeer Games
1999:
Stuart Little
Siegfried & Roy: The Magic Box (IMAX)
1998:
Practical Magic
Holy Man
The Parent Trap
The Odd Couple II
1997:
Mouse Hunt****3.32951||1,65501/12
Contact***3.341,0815|39208/97 - 12/06
Volcano***3.069592|19505/97 - 12/06
Fools Rush In
1996:
The Long Kiss Goodnight
Eraser***3.041381|||1,57307/10all albums
Sgt. Bilko
1995:
Grumpier Old Men
Father of the Bride Part II
Judge Dredd****3.581412||1,43011/09
The Perez Family
The Quick and the Dead***
1994:
Richie Rich
Blown Away
Forrest Gump (AW)****4.002,8683||12912/00 - 09/08
Clean Slate
1993:
Grumpy Old Men***
Judgment Night
Super Mario Bros.
Cop and a Half
In Search of the Obelisk (IMAX)
1992:
Sidekicks
The Bodyguard
Death Becomes Her
Gahan Wilson's Diner
FernGully: The Last Rainforest***3.042333||60606/03 - 04/09
Stop! Or My Mom Will Shoot
1991:
Father of the Bride
Ricochet
Dutch
Soapdish
Shattered
1990:
Predator 2***2.99982||1,62301/12
Young Guns II
Back to the Future Part III****3.271022|||1,50401/10
Downtown
1989:
Back to the Future Part II***2.971143|||1,51601/10
The Abyss****3.932,00111||19808/97 - 07/06
She's Out of Control
1988:
My Stepmother is an Alien
Mac and Me
Who Framed Roger Rabbit (AW)****3.553804||51007/03 - 03/09all albums
1987:
Overboard
Predator****3.701,15934|||19009/03 - 03/12all albums
Outrageous Fortune
Critical Condition
1986:
No Mercy
Flight of the Navigator
American Anthem
The Delta Force
The Clan of the Cave Bear
1985:
Summer Rental
Back to the Future (AW)*****3.954517||||1,24301/10multiple albums
Cat's Eye
Fandango
1984:
How Did You Get In? We Didn't See You Leave
Romancing the Stone**2.253448||56806/03 - 03/09limited
1979-1983:
(none)
1978:
The Fifth Floor
1977:
(none)
1976:
The Amazing Dobermans
1975:
Las Vegas Lady
1973-1994:
(none)
1972:
The Doberman Gang
(reviews listed with a "co-wrote" indicate that either the composer wrote the score with another person or that more than one composer worked separately to provide a score for the production)


Legend:
Status:
N
- indicates a new review that has been published in the last 90 days
R
- indicates an older review that has been significantly revised in the last 90 days
Awards: AW - indicates that the music won or was nominated for a major award
Ratings: FR - Filmtracks Rating ("Varied" indicates a split rating with no overall designation)
VR - Viewer Rating (overall average)
VT - Vote Total (for viewer ratings)
Comments: Comment Total (the number of messages posted in the review's comment area)
Review Depth: ||||| - Massive Review (over 4,000 words)
|||| - Very Long Review (between 2,200 and 4,000 words)
||| - Long Review (between 1,200 and 2,200 words)
|| - Average Review (between 800 and 1,200 words)
| - Short Review (under 800 words)
Traffic Rank: Popularity Rank (lower numbers indicate more cumulative reads; new reviews take time to climb the ranks)
Dates: 1st - indicates the month and year during which the review was first published
2nd - indicates the month and year of the review's most recent significant revision (if any)


   
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