 |
|
|
|
|
 |
Conducted by:
|
Damon Intrabartolo
|
|
|
|
|
Release Date:
|
July 23rd, 2002
|
|
|
|
|
|
|
|
|
|
|
|
|
Availability:
Regular U.S. release.
|
|
|
|
|
|
|
|
 |
|
|
Filmtracks Recommends:
Buy it... if you treasure John Ottman's knack for creativity in style,
and in this case, scampering orchestral rhythms on many light feet.
Avoid it... if a fluid combination of horror and comedy in the same
score crosses too many boundaries for you.
Filmtracks Editorial Review:
 |
| | Ottman | |
|
Eight Legged Freaks: (John Ottman) Who could ever
forget the hairy horror films of monsters caused by nuclear radiation in the
1950's? You had giant spiders in Tarantula, and even better yet,
giant ants that attack Los Angeles in Them!. The 2002 flick Eight
Legged Freaks both paid tribute to that genre and mocked it at the same
time, utilizing modern CGI effects to produce a similarly themed attack on
trailer folk by huge arachnids. The film's original title, "Arac Attack,"
played to the tongue and cheek nature of the project, but that title was
dropped because producers realized that real life people weren't much more
intelligent than the ones getting killed in the film, and they would
probably confuse the film with a Gulf War action documentary. Whether the
giant spiders were unleashed on hostile Iraqis or trailer-dwelling
Americans, the Dean Devlin and Roland Emmerich film was much more of a
comedy spoof than a serious horror film, and so they needed a score that was
playfully sinister. Composer John Ottman, a busy man in 2002, had wanted to
work with Devlin and Emmerich ever since he heard and saw Stargate in
1994, and Eight Legged Freaks would be that chance. The music in the
old 50's style monster films was always over the top, with Godzilla
proportions and an enormous presence on screen that often compensated for
less than perfect special effects. Ottman's approach would also mirror that
large-scale history, but as opposed to the straight horror flick scores,
Eight Legged Freaks required a lot of humor in that same statement of
pomp. As Ottman reflects, "[the score] would require me tapping into my
quirky side (like that's hard), yet at the same time playing the suspense
and frolicy nature of the movie."
The resulting effort from Ottman has led to yet another
opportunity to speculate about the parallels between Ottman's creative
output and Danny Elfman's early comedy work. To say that both have the same
musical sense of humor is obvious, but whereas Elfman often toyed with the
bizarre to conjure up his creativity, Ottman chooses the route of subtle
thematic adaptations and orchestrally innovative use of instrumentation. In
short, Ottman's music is propelled by a keen sense of style. Eight Legged
Freaks is a great chance to hear this style in work, because Ottman
perfectly captures the spirit of the spiders in the prancing, yet relentless
rhythms that also dance on every beat with a light impression, keeping the
score in the comedy realm. Ottman has accomplished here what is very
difficult for any composer: a horror score that is funny. The title theme
has the robust, unstoppable procession of the spiders in a strange major-key
mood, with every section of the orchestra alternating in the pinpoint
statements of notes that represent all the little (or big, in the case)
spider legs scampering across the ground. Ottman also conjures up a
castanette-laced theme for the mother spider, as well as a somewhat noble
woodwind theme for the young characters who battle the spiders. As usual,
Ottman can't let the opportunity slip by without inserting some extra
creativity, and in Goodbye Lover style, he utilizes the "Itsy Bitsy
Spider" nursery rhyme (also known as "Eensy Weensy Spider") in several cues,
usually with an intimate solo instrument (though the cello had the best
effect at it). The Joey Deluxe vocal of "Itsy Bitsy Spider," heard over the
end credits, is not on this album. Despite a slightly undersized
recording group, the score's vivacious attitude compensates, and the
scampering statements of harmonious theme keep the action manageable. At
times, though, as could be expected, the frenetic nature of the wild
orchestral action can be overwhelming, leaving Ottman's more subtle moments
as the highlights (along with a pleasant finale and resolution cue with
acoustic guitar). Overall, even if you can't listen to it for lengthy
periods, you can't help but marvel at Ottman's knack for capturing the
spirit of a film in its musical translation. ***
 |
|
Viewer Ratings and Comments:
|
| |
|
|
|
|
|
• 1. Spider Mania (2:06)
• 2. Spider Shack (4:20)
• 3. Cat Napped (1:36)
• 4. Trailer Trashed (5:51)
• 5. Investigating (1:35)
• 6. Mall Mayhem (4:00)
• 7. Bedroom Attack (1:47)
• 8. Out of the Fire (0:46)
• 9. Spider Got Your Tongue (1:21)
| |
• 10. Scurry Flurry (2:16)
• 11. They Will Come (2:19)
• 12. Spider Assault (2:52)
• 13. Shopping Spree (1:12)
• 14. The Tunnels (3:42)
• 15. Climactic Plan (7:05)
• 16. All's Well That Ends Well (2:44)
• 17. Spiders and Cycles (1:53)
|
The insert includes a list of performers, but no extra information about
the score or film.
|
