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Settling the Score

Jon & Andy

Télévision et cinéma Musique Musique : analyses Arts

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#69 – The Fugitive
Follow along as Jon and Andy do a hard-target search of James Newton Howard’s score to the 1993 man-on-the-run thriller The Fugitive. How do this film and its music match this cultural moment? What technical rule does Howard break, and why doesn’t it matter? And, wait a minute, does this plot actually make any sense?
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1:40:52
#68 – 2025 Oscars Special
It’s back to the Oscars stage for Jon and Andy, to talk about this year’s nominees for Best Original Score, and it’s back to some age old questions: Do we want our music made out of notes or blobs? Does reading up about these scores get in the way of our curmudgeonly opinions? And, how much music should a musical's music music?
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2:42:29
#67 – The Graduate
Are you here for an affair? Ah yes, an episode of Settling the Score, very good sir - this one's about Simon and Garfunkel’s song score to Mike Nichol’s classic 1967 satire The Graduate. How was this movie pioneering in its use of music? Do these famous songs engender sympathy or skepticism for the characters, or both? And, it's okay to ask: do these lyrics actually mean anything?
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1:45:11
#66 – The Empire Strikes Back
“I love this score.” “I know.” Jon and Andy search their feelings about John Williams’ score for the 1980 hit sci-fi fantasy sequel The Empire Strikes Back. How important has this score been to our hosts? How does its mastery show itself on different scales? And, what are the odds of successfully navigating this show’s longest episode ever?
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2:26:19
#65 – Double Indemnity
Jon and Andy go straight down the line through Miklós Rózsa's score for the 1944 film noir classic Double Indemnity. Which elements of this music sound like noir, and which don’t? Why do we enjoy stories about bad people? And, where’s a good spot in L.A. to sneak into if you want to hear some Schubert?
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1:26:59

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À propos de Settling the Score

Join Jon and Andy as they explore the world of film music, one score at a time. Each episode is an in-depth discussion of a classic film score: what makes it tick, how it serves the movie, and whether it's, you know, any good. It's a freewheeling, opinionated conversation with an analytical bent, richly illustrated with musical examples. No expertise required. The series began by tackling “100 Years of Film Scores," the AFI's list of (purportedly) the 25 greatest scores in American cinema history, and now draws from a broad range of distinguished scores old and new. Jonathan Dinerstein writes music for film and television in Hollywood. Andy is a pianist and music director. They've been chatting together about movie music for 20 years. Support the show at Patreon.com/SettlingtheScore. Write us at [email protected].

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