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Planet Earth III

Planet Earth III
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Main Theme by Hans Zimmer, Jacob Shea & Sara Barone
Original Music by Jacob Shea & Sara Barone for Bleeding Fingers Music


An awe-inspiring score for the third, and final instalment of the BBC’s innovative, highly acclaimed nature series narrated by David Attenborough.

The 8-part nature series is scored by Hans Zimmer, together with Jacob Shea (Seven Worlds One Planet, Blue Planet II) and Sara Barone (Grimcutty) of Bleeding Fingers Music. Bastille’s Dan Smith has collaborated on the score and his vocals are featured on the show’s opening title theme song, as well as within all episodes of the series.

There is lyricism and magic in the score, from gorgeous strings and fragile glass-like percussion to powerful brass and full orchestra ostinatos. In the opening theme, ‘Planet Earth III Suite’, the gentle vocals usher a soaring 4-note brass theme, with the brass gradually disintegrating, joining the strings, to be brought back in a commanding statement. The score proves to be as alive as the planet, depicting pain, rage, and urgency, broken with moments of beauty and tranquillity. There is an ongoing clock-like pulse, sometimes juddering and stopping, depicted by a breathing, living sound of the orchestra. This is Hans Zimmer and Bleeding Fingers Music at their best, creating a timeless TV soundtrack for the ages.

Filmed over five years, Planet Earth III uses pioneering filmmaking technology to reveal the greatest wonders of life on earth. Lightweight drones, high-speed cameras and remotely operated deep-sea submersibles transport viewers to spectacular unseen landscapes, from remote jungles and scorching deserts to the darkest caves and depths of the ocean.

Planet Earth III’s first episode was aired on BBC One and iPlayer on Sunday 22nd October. The final series in the Trilogy, the series has already received glowing reviews. The Guardian describes it as an “awe-inspiring series” and goes on to say that “It is possible to watch and enjoy it purely for the astonishing footage – but it will horrify you too”. The Times comments that it “is magnificent, but it’s a fast track to becoming really quite sad”, whilst The I calls it “spectacular, eye-opening, awe-inspiring – and terrifying”. There is a theme of sadness and terror emerging here. The knowledge about climate change has not initiated enough action and reform as it was hoped for, and once again, David Attenborough rallies a call – “The natural world continues to surprise us, but since Darwin’s time it has changed beyond recognition, being transformed by a powerful force – us… At this crucial time in our history, we must now look at the world through a new lens.”

With over 150 soundtracks to his credit, Hans Zimmer has been honoured with many accolades, an Academy Award, two Golden Globes, three Grammys, an American Music Award, a Tony Award and The Henry Mancini Award for Lifetime Achievement. His Academy Award nomination for Interstellar marked his 10th Oscar nomination. The Planet Earth III score is completed by Jacob Shea and Sara Barone, from Emmy and BAFTA nominated Bleeding Fingers Music, a joint venture between Extreme Music and Hans Zimmer’s RCI Global created to build a world-class Zimmer approved TV-focused roster. Bleeding Fingers has created original music for productions including the Fox’s The Simpsons, BBC’s Planet Earth II, National Geographic’s Being The Queen, Apple TV’s Prehistoric Planet, NBC’s hit Little Big Shots, Amazon’s American Playboy, AMC’s The Making Of The Mob, Netflix original Roman Empire, History Channel’s Mountain Men.

Planet Earth III is a BBC Studios Natural History Production co-produced with BBC AMERICA, ZDF and France Televisions in partnership with The Open University for BBC. The executive producer is Mike Gunton, and the series producer is Matt Brandon. BBC Studios is handling global distribution.


1. Planet Earth III Suite

2. Southern Right Whale
3. Sea Angel – Sea Devil
4. Seal vs Shark
5. Garter Snake
6. Raine Island Turtles
7. Hurricanes
8. Archer Fish
9. Flamingos

10. Hang Son Doong
11. The Undergound
12. Monarch Butterflies
13. Arctic Wolves
14. Divide and Conquer
15. Seeds and Bulbs
16. Fire
17. Snow Leopard

18. Forests
19. Treehopper
20. Green Desert
21. Getting Old
22. Dhole
23. Uganda Chimps

24. The Okavango Delta
25. Holding Onto Love
26. Frog Eggs
27. Mugger Crocs
28. Goby Fish
29. Wild Dogs
30. Freshwater Canals
31. Indus River Dolphin

32. Sad Santiago
33. Frog Hunters
34. Looking for a Partner
35. Operation Eagle
36. Finding Meaning
37. Northern Bald Ibis
38. Climate Change
39. Fighting with Paper

40. Urban Rhino
41. Monocled Cobra
42. Locust Surges

43. Ocean Deep
44. Pearl Octopus
45. Mother Octopus
46. Horn Shark
47. Loggerhead
48. Hungry Sealions
49. Trapped Sealions

50. Deserts and Grasslands
51. Ostriches in the Namib
52. Bowerbirds
53. Sandstorms
54. Brave and Adaptable
55. Searching for Water
56. King of the Steppe
57. Zakouma Elephants
58. Maned Wolf


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Music by Richard Harvey


Gerry Anderson and Christopher Burr’s Terrahawks turned 40 this autumn. On Saturday 8 October 1983, Terrahawks was broadcast for the very first time on ITV. The cult show was Anderson’s first in over a decade to use puppets for its characters, and also his last. Set in the year 2020, the series followed the adventures of the Terrahawks, a taskforce responsible for protecting Earth from invasion by a group of extraterrestrial androids and aliens led by Zelda. Like Anderson’s previous puppet series, futuristic vehicles and technology featured prominently in each episode.

This soundtrack features the memorable opening theme, original musical cues from the show, hit singles released at the time of airing (sung by the character Kate Kestrel) and for the first time, a newly remastered version of the Terrahawks Suite performed by a full orchestra at the Stand By For Action! concert, recorded at Birmingham Symphony Hall in April 2022.

BAFTA award winning British composer Richard Harvey has over 70 film and television scores to his credit which include Shroud For A Nightingale, Steaming, Tales Of The Unexpected, G.B.H. and The Little Prince. A multi-instrumentalist alongside composing duties he has worked with a dazzling array of names that include Sir Paul McCartney, Elvis Costello, Hans Zimmer and Francis Ford Coppola.


Disc: 1
1. Terrahawks Main Titles
2. The Invaders of Mars
3. Hiding in Plain Sight
4. War and Peace
5. Guks Bearing Gifts
6. Sram’s Roar
7. Thunder and Frightening
8. The World Song Contest
9. Zelda Rap
10. S.O.S – Performed by Kate Kestrel / [Moya Griffiths]
11. Special Delivery
12. Darrell in Hawknest
13. It’s So Easy – Performed by Kate Kestrel / [Moya Griffiths]
14. Tethered Goats
15. Chamber of Death
16. Attack of the Space Bear
17. Kate in Trouble
18. Terrahawks – End Titles


Disc: 2
1. Terrahawks Theme – Extended Version
2. Terrahawks – Variations on a Theme
3. Anderson Burr Ident’
4. Terrahawks – Demo Titles 1
5. Master of Infinite Disguise
6. Terrahawks – Demo Titles 2
7. Yuri
8. The Telekinetic Menace
9. Terrahawks – Demo Titles 3
10. Close Encounters of the Stew Kind
11. Master of Ice
12. Be my Star Tonight – Performed by Kate Kestrel / [Moya Griffiths]
13. I Believe in Love This Christmas – Performed by Kate Kestrel / [Moya Griffiths]
14. US End Titles – Performed by Kate Kestrel / [Moya Griffiths]
15. The Theme from Terrahawks – Performed by The Royal Philharmonic Orchestra
16. I Am the Invisible Man
17. Terrahawks Break Stings
18. A Strange Presence
19. Terrahawks Suite – Stand By For Action Live Concert Version (Remastered)

Doctor Who – Revenge Of The Cybermen

Doctor Who Revenge Of The Cybermen
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Music by Carey Blyton with Peter Howell and the BBC Radiophonic Workshop


Doctor Who – Revenge Of The Cybermen was the season 12 finale first broadcast on April 19th 1975.

As with so much television music of the 1960s, ’70s and ’80s, the original master tapes of Carey Blyton’s score for Revenge of the Cybermen were not retained. The only surviving copy is a set of four 7″, 7.5ips “composer’s copy”domestic 1/4-inch tape. It is from those digital transfers that this release is taken. Sadly, and to Carey’s obvious and understandable disappointment, the completed music did not meet with the complete approval of the production team, and much of it was not used. Peter Howell of the BBC Radiophonic Workshop added some electronic embellishments and arranged some additional cues for parts two and three but some of that was also left on the proverbial cutting room floor.

For this presentation, Carey’s original score is presented (and heard here for the first time) as written. This is followed by the additional, alternative, and “enhanced” cues, all of which were also on Carey Blyton’s tapes

“This is undoubtedly one of the most distinctive, mysterious, misunderstood, and even controversial scores in Doctor Who history, and it delights me to finally bring it, complete, to your ears!” – Mark Ayres (compiler and producer)


01 Doctor Who – Opening Title Theme 0.45
02 Return to Nerva Beacon 2.02
03 Can Anyone Hear Me? 0.36
04 Cybermat / Unspool / Plague 1.53
05 Cybership I 0.23
06 Searching Kellman’s Room 1.05
07 Sarah vs Cybermat Part 1 0.31

08 Sarah vs Cybermat Part 2 0.18
09 Sabotage 0.42
10 It’s Happening All Over Again 0.11
11 The Skystriker 0.26
12 On Voga 0.40
13 Sarah and Harry Captured Part 1 0.47
14 Sarah and Harry Captured Part 2 0.10
15 Cybership II 0.19
16 Enter Vorus 0.08
17 Remote Control Threat 0.33
18 Tyrum and Vorus 0.37
19 One More Pull 0.17
20 Caves Chase 0.50
21 Caves Chase Continued 0.29
22 Surrounded 0.35
23 Boarding Party 0.59

24 The Beacon is Ours 0.41
25 Tyrum Fanfare 0.15
26 Prisoners 0.13
27 Fresh Orders 0.19
28 It Cannot Be Stopped 0.21
29 Loose Thinking / The Bomb 1.27
30 The Countdown Has Commenced 1.01
31 Cybermarch 1.27
32 Radarscope 0.23
33 Adventures on Voga 1.19
34 Rockfall 1.15

35 Surface Party and Detonation 1.47
36 Nine Minutes 0.26
37 Cybermat vs Cybermen 0.44
38 The Biggest Bang in History? 0.45
39 Waltz – All’s Well That Ends Well 0.17
40 Doctor Who – Closing Title Theme (53” Version) 0.54

41 Sarah vs Cybermat (end of part 1 alternative) 0.20
42 Sarah vs Cybermat (start of part 2) 0.56
43 It’s Happening All Over Again (random organ) 0.06
44 Sarah and Harry Captured (alternative) 0.46
45 Put That Gun Down (synth cue) 0.20
46 Cybership II (alternative) 0.24
47 Remote Control Threat (alternative) 0.35
48 One More Pull (alternative) and Vogan Gunfight 0.58
49 Cybership III (synth cue) 0.17
50 Caves Chase (alternative) 1.20
51 Cybership IV (synth cue) 0.23
52 Caves Chase Continued (alternative) 0.36
53 Surrounded (alternative) 0.38
54 Boarding Party (end of Part 2 alternative) 0.25

55 Jelly Babies (synth cue) 0.10
56 Tyrum Fanfare (edited cue as used) 0.10
57 It Cannot Be Stopped (alternative) 0.37
58 Loose Thinking (alternative) 0.31
59 The Bomb (alternative) 0.19
60 The Countdown Has Commenced (alternative) 0.06
61 Looped Cybermarch 0.29
62 Looped Cybermarch with Synth 0.47
63 Adventures on Voga (synth cues) 1.07
64 The Red Zone (Random Organ) 0.06
65 Heartbeat Countdown I (synth cue) 1.25
66 Heartbeat Countdown II (synth cue) 1.09
67 Rockfall (alternative) 1.17

68 Session Tapes – Random Organ, Specimen Gong, Timps 3.08
69 Session Tapes – m42a & 42b (improvs) 1.58

Total Duration – 51m 54s

Doctor Who – Time And The Rani

Doctor Who Time And The Rani
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Music by Keff McCulloch


‘Doctor Who – Time And The Rani’ was the opening serial of season 24, first broadcast on September 7th, 1987. It marked the debut of Sylvester McCoy and featured CGI, very much in a basic form as the technology was still in development. It also debuted a new computer animated opening title sequence with a new synthesiser version of the theme created by Keff McCulloch.

The composer was invited to create incidental music for the series and became a regular member of the team also writing music for Delta And The Bannerman, Paradise Towers, Remembrance Of The Daleks, Silver Nemesis, Battlefield, Dimensions In Time and Shada.

Keff, Dominic Glynn and Mark Ayres were the composers for the last three years of Doctor Who on its original run that ended in 1989, the latter compiling and producing this release.


01 The Rani Takes the TARDIS (Sound Effects) 0.22
02 Leave the Girl, It’s the Man I Want 0.23
03 Doctor Who (Opening Theme) 0.54
04 Einstein 0.21
05 A Nice Nap 0.34
06 Urak and Ikona 1.12
07 The Death of Sarn 1.05
08 Bull in a Barbershop 0.24
09 Not Your Enemy 1.52
10 The Tetrap Eyrie (1) 0.46
11 Landscape 0.25
12 New Wardrobe 1.27
13 Mel and the Bubble Trap 1.04

14 Mel and the Bubble Trap (continued) 1.33
15 The Tetrap Eyrie (2) 0.44
16 Wait Here 0.56
17 Memory Like An Elephant 1.18
18 Faroon, Ikona and the Mourning 1.34
19 Urak Nets The Rani 1.39
20 Pulses 0.26
21 The Rani’s TARDIS 1.03
22 You’re a Time Lord 0.39
23 She’s Coming 0.29
24 Cliffhanger in the Eyrie 1.30

25 Doctor on the Loose (Part 1) 0.55
26 Doctor on the Loose (Parts 2-4) 1.28
27 Doctor on the Loose (Part 5 – The Bubble Trap) 0.33
28 Faroon Forlorn / Doctor on the Loose (Part 6) 0.46
29 Future Pleasure 4.58
30 Beez 0.47
31 Hologram Mel 1.29
32 Just the Expert 0.24
33 As Sentimental as He Is 0.17
34 Fixed Trajectory 0.48
35 Second Bluff 0.47
36 All as Planned 0.20
37 The Brain 2.08

38 The Brain (reprise) 1.19
39 Dissidents to Heel 0.40
40 March of the Tetraps / Anklet Death 1.48
41 The Rani Explains 1.48
42 Urak Overhears 0.27
43 Loyhargil (1) 0.48
44 As You Snore So Shall You Sleep 0.38
45 Loyhargil (2) 0.14
46 Where there’s a Will 0.27
47 Loyhargil (3) 0.24
48 The Rani Leaves 0.20
49 Undoing The Rani 2.08
50 Fingers Crossed 0.21
51 Not Forgotten 0.54
52 Time and Tide Melts the Snowman 0.15
53 Doctor Who (Closing Theme) 1.13

54 Doctor Who 1987 2.40
55 The Death of Sarn (part, alternative version without rattle) 0.22
56 Two “stings” (1m10 and 1m12) 0.18
57 New Wardrobe (original mono mix without overdubs) 0.57
58 New Wardrobe (overdubs) 0.57
59 New Wardrobe (original mono TV mix as used) 0.58
60 She’s Coming (unused version 1) 0.43
61 Cliffhanger in the Eyrie (unused version 1) 1.30
62 Cliffhanger in the Eyrie (Part Two Reprise edit) 1.18
63 Future Pleasure (original master) 4.32
64 The Brain (25th Anniversary Album edit) 3.03
65 Doctor Who Theme 1987 (original demo) 2.54
66 Doctor Who Opening Title 1987 (original demo) 0.43
67 Doctor Who Closing Title 1987 (original demo) 1.16

Total Duration – 76m 05s

Laurence Rosenthal: Music For Film And Television

Laurence Rosenthal Music For Film And Television
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Music by Brussels Philharmonic


Among all composer-centred albums that have been produced at Film Fest Gent over the past twenty years, this new recording of music by Laurence Rosenthal, ‘Laurence Rosenthal: Music For Film And Television’ is certainly unique in the festival’s history, in that it celebrates a composer who was already writing classic film scores during an era that has become known as the silver age of film music. While the oldest music on previous albums dates back to the early 1980s, some of the scores presented here were composed in the early 1960s – a full decade earlier than the first edition of Film Fest Gent itself, which this year celebrates its 50th anniversary.

This felicitous release features all-new studio recordings of selected scores by this American composer, one of the giants of film, television and theatre music, who has been on the festival’s music programming wish list for years. Laurence Rosenthal’s career in film and television composition, which began in the 1950s, spans no less than six decades. To one generation of filmgoers the composer is known for his scores to acclaimed 1960s films such as ‘The Miracle Worker ‘and ‘Becket’, to another generation for his scores to late 1970s/early 1980s genre films such as ‘The Island of Dr Moreau’ and ‘Clash of the Titans’, to television viewers of the 1980s for his scores to a variety of miniseries such as ‘Anastasia: The Mystery of Anna’ and ‘The Bourne Identity,’ and finally to both old and new generations for his theme and scores for ‘The Young Indiana Jones Chronicles’.

“To have maestro Dirk Brosse and the Brussels Philharmonic now bringing new life to these selected scores is a very special privilege for me, for which I am so thankful” – LAURENCE ROSENTHAL


I. The Great Plains / II. Training for War / III. The Buffalo Hunt / IV. The Great Plains (Reprise)

I. Prologue: Helen Alone / II. First Meeting / III. The Miracle at the Pump

I. David / II. San Pietro


5. BILLY THE KID – Main Title

I. Flight to Mount Olympus / II. The Lovers / III. Joppa


I. Echoes of Rome: Ave Caesar! / II. Claretta: Chat by the Window / III. Off to Capri


10. REQUIEM FOR A HEAVYWEIGHT – Main Title (Revised Version)

11. METEOR – Suite:
I. End Credits / II. Dubov’s Rage

12. A RAISIN IN THE SUN – Today, He Came into His Manhood


I. Welcome to Ireland II. Fight in the Bakery

I. Welcome to Hollywood / II. Sunset / III. Runaway Wagon

16. BECKET – Suite:
I. Prologue and Arrival of the King at Canterbury / II. Triumph in France / III. Epilogue

The Following Events Are Based On A Pack Of Lies

The Following Events Are Based On A Pack Of Lies
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Music by Arthur Sharpe


Arthur Sharpe’s soundtrack for The Following Events Are Based on a Pack of Lies.

The dark, comic and unpredictable five-episode thriller series is written by siblings Penelope Skinner (Fresh Meat, Linda, Briony Hatch – a graphic novel) and Ginny Skinner (Briony Hatch – a graphic novel). Starring stars Marianne Jean-Baptiste, Alistair Petrie, Rebekah Staton, Romola Garai, and Derek Jacobi, the series follows Alistair Petrie’s sleazebag serial scammer, Robert, engaging in a game of cat and mouse with Alice (Rebekah Staton), the abandoned ex-wife who thought he was dead, and Cheryl (Marianne Jean-Baptiste) the successful fantasy author who he is currently attempting to extort money from.

Penelope and Ginny Skinner observe – “In a world where convicted conmen become overnight cultural icons, bypassing blame on their way to fame, we have been inspired to fight back against the glorification of the predator. We want to tell a story about the real heroes of any scam: those who risk everything to call out the perpetrators.”

Den of Geek describes the series stylistic form – “The BBC scammer drama isn’t a biopic, but it comes with shades of reality” while The Guardian describes Alice’s quest for revenge as a “total thrill”. The intricacies of composing a soundtrack for such a form is explained by composer Arthur Sharpe – “To create a sound world within which the music spans the bright colours of the visuals to the dark insidiousness of a conman, I employed a wide variety of sounds.”

The score is an amalgam of harpsichords, harps, strings and marimbas driven along by the beats of the Bangers & Crash percussion group, with added sprinklings of detuned echos, scaffolding, broken floor tiles and a metal toy box; all combinations augmenting and supporting the storyline peppered with deceit and paranoia. It reflects Alice’s attempts to out the ex-husband who destroyed her life as he attempts to woo and steal from his new victim, the unsuspecting fantasy author and recently widowed Cheryl.” Delightful and surprising, Arthur’s soundtrack proves a perfect fit for the series.

Arthur Sharpe is a BAFTA, Ivor Novello and RTS Award-winning film and TV composer. He is known for his HBO & Sky Atlantic series Landscapers (2021), a genre-distorting true crime drama starring Olivia Colman and David Thewlis, for which he won multiple awards including the 2022 BAFTA for Best Original Music and the Ivor Novello Award for Best Television Soundtrack; and the feature film The Electrical Life of Louis Wain (2021), a Victorian-era artist’s biopic starring Benedict Cumberbatch and Claire Foy. Other notable works include BBC1 comedy Ghosts (2019 – present), Women On The Verge (2018) created by Lorna Martin and Sharon Horgan, Neil Forsyth’s BBC Scotland & BBC2 drama Guilt (2019 – 2023) and C4’s black comedy drama Flowers (2016-2018) starring Sophia Di Martino, Olivia Colman and Julian Barrett.



1 Couplets 1:46

2 Air of Loftiness 1:56

3 Arathdoon 1:37

4 Building Mania 2:47

5 Tunnel Hearing 2:56

6 Impatience is a Virtue 2:49

7 Bounce & Melt 2:31

8 Malevolent Calm 1:40

9 MQPT 3:40

10 Pulsing Ahead 2:19

11 Secrets & Intrigue 1:36

12 Couplets Hypertension 2:09

13 The Ruins of Seduction 1:10

14 What Once Was There 3:47

15 The Dragon Queen of Thweme 2:06

16 The Swindlertrot 1:09

17 Unpersuading 4:48

18 MQPT Collapse 2:32

19 Rally & Recover 5:15

20 Unchartered Ambiguity 1:02

21 Truths Unearthed 2:17

22 Court Hearing 2:41

23 March of the Mountebank 2:32

24 All Trust Lost 1:35

25 Rage Uncontained 4:40

26 A Brief History of Bad Men (Getting Away with It) 3:56

27 Scheming 1:13

28 Hope in Resolve 4:02

The Escape Artist

The Escape Artist
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Music by Georges Delerue


The Escape Artist, released in 1982, starred Griffin O’Neal and Raul Julia with a tale of a young boy determined to follow in the footsteps of his father, “the greatest escape artist except for Houdini”.

Revered for his melodic skill and an innate emotional compass, French composer Georges Delerue could bring to bear music that was sweetly sentimental and drenched with pathos. He was a composer who could create magic, and that’s why he was director Caleb Deschanel’s one and only choice for The Escape Artist.

An already prolific screen career back home had seen him work with some of cinema’s greatest auteurs – everyone from François Truffaut and Bernardo Bertolucci to Alain Resnais and Jean-Luc Godard. Then there were the English-language films for directors like Jack Clayton, Fred Zinnemann, John Huston, Mike Nichols and John Frankenheimer. He had won an Oscar at the 52nd Academy Awards in 1980 for his music for A Little Romance and he took the plunge by moving to Los Angeles soon after.

This long unavailable soundtrack features extensive liner notes from film and music journalist Michael Beek.


1. Main Titles
2. Getting Ready for The Big Time
3. Danny’s Arrival
4. Burke & Sybil’s Act
5. Harry Masters
6. Leaving The Apartment
7. The Bridal Shop
8. Picking Up Sandra
9. The Water Tank
10. Drowning
11. Ted’s Rancho
12. Fritz Threatens Danny
13. Danny’s Escape
14. The Secret Revealed / Levitation
15. Opening The Safe
16. Stu Chases Danny
17. The Mailbox / End Credits

Bonus Tracks
18. Harry Masters (Alternate)
19. Source Music I
20. Source Music II
21. Stage Band
22. Ted’s Rancho (Source Music)
23. High School Band
24. Music Box
25. Practicing The Piano (Delerue Solo)
26. Main Theme – Original Piano Demo


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Music by John Barry


Wim Wender’s 1982 film (executive produced by Francis Ford Coppola) Hammett starred Frederic Forrest as the titular American crime writer who becomes mixed up in a fictional mystery, similar to his own stories.

It is often assumed that composer John Barry’s association with Francis Ford Coppola had been cemented through his work on two entirely different 1980s films: The Cotton Club (1984) and Peggy Sue Got Married (1986), but in truth, their relationship began earlier, when Barry was hired to score Hammett.

Barry had great fondness for his Hammett score telling Ford Thaxton in 2001, “I loved doing Hammett. That was a terrific movie. If the director’s got it correctly onto the screen and that intimacy is present, it’s just great to be able to write that simply and orchestrate that sparsely.”

This release is newly remastered and edited with additional and alternate cues and includes extensive sleeve notes from Geoff Leonard and Pete Walker, authors of John Barry Plays 007: The Music And Art Of James Bond.


1. Hammett Main Titles
2. Hammett’s Dream
3. Ryan is Missing
4. Chinatown Incident
5. Moonlight Over Spring River
6. Cookie’s Speakeasy
7. Shoeshine Blues
8. Shadow Man
9. The Library
10. Hammett Meets Salt / Suicide is Fascinating / I’m Calling It In
11. Look For Me at Fong’s
12. Potted Palms
13. The Opium Den / Escape from Fong’s
14. Hide and Seek
15. The Numbers Ticket Clue / A Belly Full of Daylight
16. Dixieland
17. You Can’t Forget Her Ever / Don’t Be A Chump, Let Her Go
18. A Cool Million
19. Waterfront Rendezvous
20. The Wrap Up
21. Hammett End Credits
22. Gumshoe Piano
23. Do You Like Bad Girls
24. Last Call
25. Hammett End Credits (Alternate)

Mark Isham: Music For Film

Mark Isham Music For Film
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Music by the Brussels Philharmonic | Conducted by Dirk Brossé


Film Fest Gent’s guest of honour at the 2022 World Soundtrack Awards Ceremony & Concert, Mark Isham has established himself as one of the most versatile American film composers of the past four decades. He first stepped into the limelight as a trumpeter and a synthesist, notably performing alongside Van Morrison among others. Utilising his classical education as well as his rich background in the jazz and electronic genres, he brings a fresh approach to each score in order to find the best, most creative solutions for every film.

Throughout his career, Isham has collaborated with a diverse range of great directors, including Robert Altman, Gillian Armstrong, Kathryn Bigelow, Brian De Palma, Jodie Foster, William Friedkin, Paul Haggis, Werner Herzog, Shaka King, Sidney Lumet, Robert Redford and Alan Rudolph, among others, which has also led him to tackle many different film genres. A number of those collaborations and genres are represented on this album.

This is the first time that an entire album is devoted to Mark Isham’s film and television career as a whole. Focusing on his symphonic music for screen and spotlighting some of his very best works, this album contains a unique selection of pieces and suites from his massive oeuvre, performed by the Brussels Philharmonic and conducted by Film Fest Gent music director Dirk Brossé. The trumpet solos on selected pieces have been newly performed by Mark Isham himself and by the Los Angeles Philharmonic’s principal trumpet player Thomas Hooten.


1. Prologue (from Bobby)
2. Eight Below Suite (from Eight Below)
3. A River Runs Through It Suite (from A River Runs Through It)
4. Funeral (from Judas and the Black Messiah)
5. Building a Family (from Life As A House)
6. On the Threshold of Liberty (from Rules of Engagement)
7. The Event Flashback (from The Nevers)
8. The Black Dahlia Suite (from The Black Dahlia)
9. American Crime Suite – Movement III (from American Crime)
10. Les Modernes Suite (from The Moderns)
11. The Unbearable Weight of Massive Talent Suite (from The Unbearable Weight of Massive Talent)
12. 42 Suite (from 42)

The Godfather Suite

The Godfather Suite
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Music by Carmine Coppola


Not at all dangerous, but no less powerful and devoted to one another, the Coppola family have loomed large in film and the arts for decades. The head of this particular family was not a Don lurking in the shadows, but a brilliant composer arranger and conductor: Carmine Coppola. On the face of it, this album is a bit of a curiosity, though it was surely the first recording to bring together music from both Godfather films in this way. Its original release coincided with a high-profile television event called The Godfather: A Novel for Television (also known as The Godfather Saga).

The extended cut necessarily featured additional music and arrangements, which were overseen by Carmine Coppola. We can safely assume that at least some of that forms part of what is included in The Godfather Suite. For it, Coppola selected and re-arranged musical highlights from the two films, including all of Rota’s main themes and his own source music pieces, creating what is essentially a 14-part symphonic suite.

It’s all rather beautifully executed, with great romantic flourishes, and it’s a fitting tribute to Carmine Coppola’s talent, not to mention his contribution to two legendary films. Carmine Coppola himself passed away just months after the release of The Godfather Part III. A highlight of that final score is the ‘Love Theme’, which was the basis of Carmine Coppola and lyricist John Bettis’s Oscar-nominated original song ‘Promise Me You’ll Remember’. The instrumental arrangement is included here in addition to the Suite.


1. Love Theme
2. The Godfather’s Tarantella
3. The Godfather’s Mazurka
4. Every Time I Look In Your Eyes
5. The Godfather’s Waltz
6. Michael’s Theme
7. The Godfather’s Fox-Trot
8. Senza Mamma (Without A Mother)
9. Napule Ve Salute (Goodbye To Naples)
10. Marcia Religiosa
11. Festa March
12. Kay’s Theme
13. A New Carpet
14. The Immigrant – Main Theme (The Godfather Part II)
15. Promise Me You’ll Remember (The Godfather Part III)