|
|
|
Alan Silvestri |
|
|
|
Reviews in Filmtracks' Top 100 Traffic Ranks: |
|
|
Scores in Filmtracks' Top 100 Voting Ranks: |
|
|
| Filmtracks Editor's Recommendations: |
|
|
| Related Page of Interest: |
|
|
| 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 |
FR | VR | VT |
RD | TR |
Dates | Notes | | 2013: | N | The Croods | **** | 3.06 | 106 | || | 1,646 | 05/13 | | | 2012: | | | Flight | ** | | | | | | | | | The Avengers | *** | 3.22 | 468 | ||| | 1,059 | 05/12 | all albums | | 2011: | | | Captain America: The First Avenger | **** | 3.39 | 531 | ||| | 1,017 | 07/11 | | | 2010: | | | The A-Team | *** | 2.91 | 295 | || | 1,287 | 06/10 | | | 2009: | | | A Christmas Carol | *** | 3.23 | 324 | || | 1,108 | 11/09 | | | | G.I. Joe: The Rise of Cobra | *** | 2.58 | 483 | || | 1,000 | 08/09 | | | | Night at the Museum: Battle of the Smithsonian | *** | 2.97 | 302 | || | 1,285 | 06/09 | | | 2008: | | (none) | | 2007: | | | Beowulf | *** | 3.32 | 562 | || | 800 | 12/07 | | | 2006: | | | Night at the Museum | *** | 3.48 | 639 | | | 455 | 12/06 | | | | The Wild | **** | 3.31 | 285 | || | 798 | 04/06 | | | 2005: | | | The Polar Express (co-wrote) (AW) | *** | 3.14 | 176 | ||| | 1,353 | 09/09 | multiple albums | | 2004: | | | Van Helsing | **** | 3.83 | 3,851 | || | 89 | 04/04 - 04/09 | | | 2003: | | | Two Soldiers | | | | | | | | | | Tomb Raider: The Cradle of Life | **** | 3.30 | 1,237 | ||| | 308 | 09/03 - 01/09 | | | | Identity | * | 2.84 | 56 | || | 1,702 | 02/12 | | | 2002: | | | Maid in Manhattan | | | | | | | | | | Stuart Little 2 | | | | | | | | | | Lilo & Stitch | *** | | | | | | | | | Showtime | | | | | | | | | 2001: | | | Serendipity | **** | | | | | | | | | The Mummy Returns | **** | 3.99 | 5,990 | ||| | 130 | 05/01 - 01/09 | | | | The Mexican (co-wrote) | *** | 3.44 | 1,193 | || | 416 | 02/01 - 01/09 | | | 2000: | | | What Women Want | **** | | | | | | | | | What Lies Beneath | ** | 2.68 | 4,063 | | | 507 | 08/00 - 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 | **** | 3.32 | 95 | || | 1,655 | 01/12 | | | | Contact | *** | 3.34 | 1,081 | | | 392 | 08/97 - 12/06 | | | | Volcano | *** | 3.06 | 959 | | | 195 | 05/97 - 12/06 | | | | Fools Rush In | | | | | | | | | 1996: | | | The Long Kiss Goodnight | | | | | | | | | | Eraser | *** | 3.04 | 138 | ||| | 1,573 | 07/10 | all albums | | | Sgt. Bilko | | | | | | | | | 1995: | | | Grumpier Old Men | | | | | | | | | | Father of the Bride Part II | | | | | | | | | | Judge Dredd | **** | 3.58 | 141 | || | 1,430 | 11/09 | | | | The Perez Family | | | | | | | | | | The Quick and the Dead | *** | | | | | | | | 1994: | | | Richie Rich | | | | | | | | | | Blown Away | | | | | | | | | | Forrest Gump (AW) | **** | 4.00 | 2,868 | || | 129 | 12/00 - 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 | *** | 3.04 | 233 | || | 606 | 06/03 - 04/09 | | | | Stop! Or My Mom Will Shoot | | | | | | | | | 1991: | | | Father of the Bride | | | | | | | | | | Ricochet | | | | | | | | | | Dutch | | | | | | | | | | Soapdish | | | | | | | | | | Shattered | | | | | | | | | 1990: | | | Predator 2 | *** | 2.99 | 98 | || | 1,623 | 01/12 | | | | Young Guns II | | | | | | | | | | Back to the Future Part III | **** | 3.27 | 102 | ||| | 1,504 | 01/10 | | | | Downtown | | | | | | | | | 1989: | | | Back to the Future Part II | *** | 2.97 | 114 | ||| | 1,516 | 01/10 | | | | The Abyss | **** | 3.93 | 2,001 | || | 198 | 08/97 - 07/06 | | | | She's Out of Control | | | | | | | | | 1988: | | | My Stepmother is an Alien | | | | | | | | | | Mac and Me | | | | | | | | | | Who Framed Roger Rabbit (AW) | **** | 3.55 | 380 | || | 510 | 07/03 - 03/09 | all albums | | 1987: | | | Overboard | | | | | | | | | | Predator | **** | 3.70 | 1,159 | ||| | 190 | 09/03 - 03/12 | all 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) | ***** | 3.95 | 451 | |||| | 1,243 | 01/10 | multiple albums | | | Cat's Eye | | | | | | | | | | Fandango | | | | | | | | | 1984: | | | How Did You Get In? We Didn't See You Leave | | | | | | | | | | Romancing the Stone | ** | 2.25 | 344 | || | 568 | 06/03 - 03/09 | limited | | 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)
|
|
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)
|
|
|