Brad Fiedel interview: composing Terminator 2's iconic score

Ryan Lambie Dec 6, 2017

Composer Brad Fiedel talks to us about his stunning music for The Terminator and its sequel, T2...

Across a varied and illustrious career, New York-born musician Brad Fiedel has conjured up some unforgettable sounds. He was the keyboard player for soft rock outfit Hall & Oates in the 70s; as a composer, Fiedel's career spanned 20 years and an eclectic mix of film and TV: cult horror classic Fright Night, hit drama The Accused, 90s sci-fi action thriller Johnny Mnemonic to name a few.

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But for most movie geeks, Fiedel will be most closely associated with his unforgettable music for James Cameron's Terminator and Terminator 2. By turns percussive and melancholy, his electronic score encapsulated the themes of Cameron's nightmarish chase movies as eloquently as the images: the off-kilter,
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The Triumphant Return of the 80’s Style Synth Score!

Tom Jolliffe takes a look at the return to popularity of the 80’s style synthesizer score…

Cinema and the orchestra have had a long-standing relationship. Over the years the big screen has been almost as much about the accompanying music as the film. When someone like John Williams creates iconic, rousing, emotional, bombastic and beautifully crafted scores like Star Wars, Superman and Indiana Jones, it enraptures an audience.

In the late 60’s, through the 70’s, people began toying with synthesizers more and more to create sound scapes and scores. Other wordly, and more ambient and enveloping than emotionally manipulative. They lacked a certain refined quality that the Orchestral score would give you but that sound in its own way (and in the right film) worked. Mike Oldfield’s Tubular Bells as a companion piece to The Exorcist is supremely effective and iconic. Or Wendy Carlos and the score for The Shining.
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The Essential Vampire Films

In readiness for Halloween, Tom Jolliffe takes a look at the essential Vampire films…

With that thing coming up that takes place on the last day in October. You know the one? Yeah, candy sales go through the roof, your house gets egged and toilet papered. Meanwhile you sacrifice a chicken over a Ouji board in the hope of getting Kevin James to stop making films. It never works and you just unleash hell on Earth (or to put it another way, a new Kevin James film comes out). With that in mind, I thought it’d be a good time to look over the best Vampire films around.Why Vampires? Well I was watching a film (that will appear on this list) and had a brainwave.

So without further ado, and not in any particular order, here are the essential Vampire films!

Nosferatu (1922)

This iconic piece of cinema remains
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‘Deadpool’ Helmer Tim Miller Directing ‘Terminator’ Reboot

We’re in the era when franchises are never dead, they just away for awhile. After “The Amazing Spider-Man 2” didn’t meet expectations, it was only two years later that the character was rebooted in “Captain America: Civil War,” and this summer he’ll swing back on the big screen in a new movie, that’s part of the Marvel Cinematic Universe. Meanwhile, less than two years have passed since rebootquel “Terminator Genisys” bellyflopped, but no matter, because as the famous phrase goes, “I’ll be back.”

Read More: Exclusive: 54-Minute Talk With ‘The Terminator’ Composer Brad Fiedel About The Newly Reissued Soundtrack

Deadline has dropped the bombshell news that “Deadpool” director Tim Miller has been tapped to direct a reboot of the property.

Continue reading ‘Deadpool’ Helmer Tim Miller Directing ‘Terminator’ Reboot at The Playlist.
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8 killer cues from Cliff Martinez’s The Neon Demon soundtrack

Sean Wilson takes a closer look at the latest captivating collaboration between director Nicolas Winding Refn and composer Cliff Martinez

Filmmaker Nicolas Winding Refn doesn’t court controversy and outrage so much as revel in it, and his latest hallucinatory nightmare The Neon Demon is no exception. A surrealistic and increasingly shocking tale of the fashion industry crossed with elements of vampirism and necrophilia, it’s a visually luscious throwback to the exploitation movies of which Refn is so fond. Descending into a neon hell with Refn once again is Drive and Only God Forgives composer Cliff Martinez – and the results are spectacular. Here are several key moments from what is assuredly one of 2016’s most distinctive and striking soundtracks.

Neon Demon

Although not strictly a themes-and-variations score, this dreamy and beguiling opener does introduce what could be described as its principal idea. An undulating, deceptively tranquil and innocent pulsating
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Exclusive: 54-Minute Talk With ‘The Terminator’ Composer Brad Fiedel About The Newly Reissued Soundtrack

While Arnold Schwarzenegger‘s immortal words, “I’ll be back,” helped launch a franchise, and James Cameron‘s vision and unrivaled skill for spectacle cemented its place in cinema history, the “Terminator” series also owes a considerable debt to composer Brad Fiedel. Scoring the first film and the follow-up, “Terminator 2: Judgment Day,” his throbbing, futuristic work helped established […]

The post Exclusive: 54-Minute Talk With ‘The Terminator’ Composer Brad Fiedel About The Newly Reissued Soundtrack appeared first on The Playlist.
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Weekly Rushes. 30 March 2016

  • MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.News"Once upon a time, two people met.A woman, a man… Their memory has almost been erased.All that’s left is a picture… torn, faded, almost gone.Cinema is not eternal but it does sometimes escape oblivion. And it is possible to restore a picture.And what will there be then between these two characters who perhaps stepped out of an English or Italian comedy or an Éric Rohmer film?When you see a poster like this, your imagination fills in the blanks, just like it does at the movies."—Édouard Waintrop, Artistic Director of the Directors’ Fortnight, about its 2016 posterSpeaking of Cannes, the festival has revealed its Opening Night Film, Woody Allen's Café Society, starring Jesse Eisenberg and Kristen Stewart, and shot by the great Vittorio Storaro.
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Fright Night 30th Anniversary Vinyl Soundtrack Release Details & Artwork

  • DailyDead
Over three decades ago, Tom Holland's Fright Night hit theaters with a rockin', danceable soundtrack that amplified the film's fun yet frightening atmosphere. To celebrate the beloved film's 30th anniversary, Night Fever Music has released Fright Night's soundtrack in three collectible vinyl versions.

Press Release: Night Fever Music is proud to announce the 30th Anniversary release of Fright Night- Original Motion Picture Soundtrack. Columbia Pictures released Fright Night to theaters in 1985, becoming one of the top grossing horror films of the year. Starring William Ragsdale, Chris Sarandon, Roddy McDowall, Amanda Bearse and Stephen Geoffreys, Fright Night has become one of the most beloved cult films in the genre

The soundtrack is anchored by hitmakers the J. Geils Band, whose single “Fright Night” leads off the album. Joining the band are numerous new wave rockers of the day, most notably Devo with the electro-funk of “Let’s Talk,
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Wes Craven’s The Serpent And The Rainbow Collector’s Edition Blu-ray Bonus Features Revealed

  • DailyDead
For quite some time now, the folks at Scream Factory have been hard at work on a Collector's Edition Blu-ray of the late, great Wes Craven's The Serpent and the Rainbow. Today, they have rewarded fans' patience by revealing the release's official list of special features, and they are well worth the wait.

In addition to a fresh HD transfer taken from The Serpent and the Rainbow's original inter-positive, this Collector's Edition Blu-ray also includes a new commentary with lead actor Bill Pullman and a "making of" featurette with an impressive number of interviews. Scream Factory will release this special Blu-ray on February 23rd:

Press Release: Loyal fans of legendary director Wes Craven (Scream, The People Under the Stairs, A Nightmare on Elm Street) know well the terrifying story of one man's nightmarish journey into the eerie and deadly world of voodoo from the 1988 horror cult classic The Serpent And The Rainbow,
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Terminator 2's opening sequence: one of cinema's greatest




Blockbuster cinema has few opening sequences as strong as the one you'll find in James Cameron's Terminator 2: Judgment Day...

For my money, Terminator 2: Judgement Day is a pretty perfect movie. While I know there are certain things people dislike about it (heck, even I could do without the “I need a vacation” line), this is a film that just gets better and better the more I watch it … and I've watched it a lot.

Not always from beginning to end. Not always with my full attention. But if it's on TV, I'll put it on. Thanks to the wonder of digital media, I can also now enjoy it on my phone or tablet wherever I am (and it's testament to the movie that it looks gorgeous on a screen of any size).

It never gets boring. It never makes me cringe. The acting, story,
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200 Greatest Horror Films (170-161)

Special Mention: Shock Corridor

Written and directed by Samuel Fuller

USA, 1963

Genre: Psychological Thriller

Shock Corridor stars Peter Breck as Johnny Barrett, an ambitious reporter who wants to expose a killer hiding out at the local insane asylum. In order to solve the case, he must pretend to be insane so they have him committed. Once in the asylum, Barrett sets to work, interrogating the other patients and keeping a close eye on the staff. But it’s difficult to remain a sane man living in an insane place, and the closer Barrett gets to the truth, the closer he gets to insanity.

Shock Corridor is best described as an anti-establishment drama that at times is surprisingly quite funny despite the dark material. The film deals with some timely issues of the era, specifically the atom bomb, anti-communism, and racism. It features everything from a raving female love-crazed nympho ward,
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Composer Lorne Balfe Talks His Score For Terminator Genisys

Paramount Pictures’ and Skydance ProductionsTerminator Genisys led the worldwide weekend box office race earning a combined total of $102.7 million in 46 countries plus North America.

Directed by Alan Taylor, Genisys returns to the Oscar winning Terminator franchise to take familiar characters in a new direction. When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke) and safeguard the future, an unexpected turn of events creates a fractured timeline. Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an unexpected new mission: to reset the future.

Terminator Genisys is written by Laeta Kalogridis & Patrick Lussier and produced by David Ellison and Dana Goldberg. The franchise has two more films scheduled to be released in 2016 and 2017.

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‘Terminator’ is still the best film James Cameron has directed


Directed by James Cameron

Written by James Cameron and Gale Anne Hurd

1984, USA

In 1984, James Cameron released his sci-fi thriller The Terminator: the story of a killer cyborg sent from the future, and programmed to kill the mother of a future rebel chief. Arnold Schwarzenegger is the automated hit man roaming around present-day Los Angeles to eliminate Sarah Connor (Linda Hamilton). Her only hope is the guerrilla fighter Kyle Reese (Michael Biehn) who has followed the killer machine back through time in order to protect her. Terminator has long staked its claim as a classic for the ages (The Library of Congress even added it to its National Film Registry in 2008) and three decades later, Termiantor is still the best film James Cameron has directed, a resourceful low-budget thriller that recalls the canny exploitation work of George Miller and John Carpenter. While the film made a considerable profit for Orion Pictures,
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The Terminator's perfect shot

With Terminator Genisys on the way, Ryan analyses what might just be the most powerful shot in James Cameron's The Terminator...

"...the final battle would not be fought in the future. It would be fought here, in our present. Tonight..."

You can tell a lot about how effective a movie scene is by watching it again with the sound turned off. Stripped of its dialogue, sound effects and music, can the sequence still communicate its message?

James Cameron's The Terminator, blessed though it is with a superb score by Brad Fiedel and numerous quotable lines, could work almost as well as a silent movie. So much of Cameron's feature debut (discounting Piranha II: The Spawning, from which he was fired after just two weeks) is told through body language and skilful shot composition.  

Watch The Terminator's opening again without sound, and you'll see just how effective and lean its visual storytelling is.
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Exclusive: Listen To Official Score Track & Unreleased Cut From Lorne Balfe's 'Terminator Genisys' Soundtrack

Musically, "The Terminator" franchise has long been defined by Brad Fiedel's work on the first two films directed by James Cameron. But with the upcoming "Terminator Genisys," the Emmy and BAFTA nominated Lorne Balfe is looking to put his imprint on the series. And as you might imagine, it was quite the task. "The biggest challenge was writing the first note of the score!" Balfe told The Playlist. "As a composer, every project begins with either a blank sequence or a blank manuscript and for the first couple of days you cover and experience every emotion under the sun. Fear being the main one! The hardest part is always the beginning--finding your footing and seeing which sounds are going to carry you through the whole film." Read More: Best Of 2014: The 15 Best Movie Soundtracks Of 2014 Today, we're exclusively unveiling two of Balfe's cuts from "Terminator Genisys": "Sarah
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Film Review: ‘Terminator Genisys’

Film Review: ‘Terminator Genisys’
“I’m old, not obsolete,” mutters Arnold Schwarzenegger’s aging android in “Terminator Genisys,” and his words could be a wishful mantra for this nervy, silly, almost admirably misguided attempt to give the 31-year-old franchise a massive cybernetic facelift. More or less rewriting everything we thought we knew about the Connor genealogy, the properties of liquid metal, and the rules of post-1984 time travel, this f/x-encrusted reboot feels at once back-to-basics and confoundingly revisionist, teeming with alternate timelines and rejiggered character histories (the most perplexing of which finds Sarah Connor now continually referring to Schwarzenegger’s Terminator as “Pops”). Consider it the 3D blockbuster equivalent of disruptive technology, and while online fans have already voiced their displeasure, the movie’s willingness to veer crazily off-course feels less objectionable than the monotony and sense of self-parody that kick in long before the whimper of a finish.

The return of a
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The 15 best film scores of 2014

  • Hitfix
The 15 best film scores of 2014
A great film score complements without burrowing too far into the ideas, wrestles with genre without locking the picture into a fixed identity, amplifies actors and actress’ choices without spilling the beans. A composer’s job is a balancing act. More and more, movie music finds itself backing off too far, devolving into incidental muzac, or going too far, where full-blast orchestral sounds pummel us like the Transformers’ energon punches. There’s a sweet spot, and the best film scores of the year ride it for an entire runtime. I shouldn’t be surprised that my favorite film scores of the year line-up closely with my favorite films of the year. As someone who goes to the movies with his ears as wide open as his eyes, I found myself captivated by 2014’s audio-visual offerings. Below, what I’d consider the "best" of the year (along with a few runner-ups,
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We're About To Get Terminator: Genisys Footage

We are now just under two days away from the first footage for Terminator: Genisys being released. An ominous countdown has premiered on the official website for the upcoming fifth installment to the beloved sci-fi series, and a rather delightful motion poster for the film has also been uploaded too. There is simply all kinds of yes going on in this living one sheet. Not only do we get to see one of the Terminator.s skeletons disintegrate away but there.s the return of Brad Fiedel.s pounding but still mesmeric theme music too. Also the fact that, when you look at it on the Terminator website, it unearths a countdown to what we can only assume is the first footage for the film is something that we can all get rather excited about. Other than that, at the moment, the official website for the film is
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Terminator: Genisys Motion Poster Hints Re-Imagined Score

Like everything we've seen or read about Terminator: Genisys, this motion poster is fairly uninteresting. The only thing you may find interesting about the crumbling exoskeleton is the score behind it which sounds like a rock n' roll re-imagining of Brad Fiedel's original, more industrial score.

Do we need more guitar riffs in our Terminator movies? I say, no.


Sarah Connor isn't the innocent she was when Linda Hamilton first sported feathered hair and acid-washed jeans in the role. Nor is she Hamilton's steely zero body-fat warrior in 1991's T2. Rather, the mother of humanity's messiah was orphaned by a Terminator at age 9. Since then, she's been raised by (brace yourself) Schwarzenegger's Terminator—an older T-800 she calls "Pops"—who is programmed to gua [Continued ...]
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The Creepy Terminator: Genisys Motion Poster Is Here—Take a Look!

The countdown is on! On Tuesday, Paramount Pictures released the creepy motion poster for Terminator: Genisys in anticipation of the movie's trailer premiere on Thursday. In approximately two days, fans will get their first glimpse of the upcoming action flick, starring Emilia Clarke, Jai Courtney, Jason Clarke and the one and only Terminator, Arnold Schwarzenegger! The eerie 15-second clip, posted on the film's official website, shows the deteriorating head of a robot with evil red eyes and is set to Brad Fiedel's spine-chilling theme music. Scared, yet? Schwarzenegger will reprise his role as the killing machine in the new Alan Taylor-directed...
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