FILM CREDITS
Music by Mark Mancina
Music Supervision by Joel Sill & Budd Carr
Music Editor: Zig Gron
Assistant Music Editor: Rupert Nadeau
Score Recorded by Shawn Murphy
Score Mixed by Steve Kempster
Conducted by Don Harper
Orchestrated by Bruce Fowler
Assistant Music Supervisors: Marylou Eales & Amy Dunn
"Oklahoma"
Written by Richard Rodgers & Oscar Hammerstein II
Original Score Written, Arranged & Produced by Mark Mancina
Score Mixed by Steve Kempster
Orchestra & Choir Recorded by Shawn Murphy
Assistant Engineer: Gregg Silk
Orchestrations by Bruce Fowler, Y.S. Moriarty, Ladd McIntosh, Don Harper & Mark Mancina
Music Editor: Zigmond Gron
LA Master Choral Conducted by Paul Salamunovich
Conductor: Don Harper
Music Contractor: Sandy DeCrescent
Concert Masters: Ralph Morrison & Sid Paige
Percussionist: Mike Fisher
Solo Guitarist: Trevor Rabin
Nylon Guitars: Doug Smith
Music Supervisor: Budd Carr
Music Librarian: Robbie Boyd
Additional Arranging by Don Harper & John Van Tongeren
Assistant Music Supervisors: Marylou Eales & Amy Dunn
Assistant Music Editor: Rupert Nadreau
Recorded at Todd AO Scoring Stage (March 15, 18-23, & April 9, 1996) & the Sony Scoring Stage (April 15, 1996)
Expanded Archival Collection Produced by Mike Matessino & Dan Goldwasser
Executive Producers for La-La Land Records: MV Gerhard & Matt Verboys
Edited & Mastered by Mike Matessino
Project Consultant: Zigmond Gron
2016 Special Thanks:
Mark Mancina, Jan de Bont, Steve Kempster, Alfredo Pasquel, Shalini Singh, Chris Strong, Marlon Espino, Dave Kapp, Lisa Margolis, Diane Gascoigne, Kenton Bymaster, John Yanez, Genevieve Morris, Joseph Billé, Chris Mangione, Andie Childs, Kristina Tunzi, Frank K. DeWald, Marvin Levy, Kristin Stark, Lauren Elliot, Anthony Jackson, Martin Cohen, Cynthia Schneider, Stacia Peters, Beth Stengel, Grant Duncan, Jeff Briggs, Cathy Johnson & Sharlene Case
1996 Album Executive Producers: Joel Still & Budd Carr
1996 Special Thanks:
Trevor Rabin, Tony Dimitriades, Gary LeMel, Doug Frank, Kathleen Kennedy, Sam Schwartz, Michael Gorfaine, Glenn Salloum, Michael Kahn, Paul Salamunovich, Steven Spielberg, Ian Bryce, Everybody Who Played & Sang, & a Very Special Thanks to Jan De Bont
Thanks:
Val Azzoli, Arthur Moorhead, Kevin Copps, Phil Wild, Jeff Levy, Alexis Atlee, Ray Danniels, Pegi Cecconi, Stuart Rosenthal, Matthew Lesher, Phil Cohen, John Gumbert, Lisa Margolis, Bobby Thornburg, Joyce Ryan, Danny Gould, Ellen Schwartz, Paul Fry, Christina George, Steve Spira, Sandra Smokler, Jeremy Williams, Patti Connolly, Debi Streeter, Rebecca Aquilar, Joseph Billé, Marilyn Azzara, Linda Colianni & Gita Jackson
Special Thanks to The American Federation of Musicians & SAG-AFTRA.
02 – The Hunt Begins** (3:51)
03 – The Sky** (1:03)
04 – Dorothy IV (Film Version) (1:56)
05 – The First Twister* (0:49)
06 – In The Ditch – Where’s My Truck? (2:00)
07 – Waterspouts** (2:49)
08 – Cow (5:42)
09 – Walk In The Woods* (2:05)
10 – Bob’s Road (2:13)
11 – Hail No! (2:43)
12 – Futility (Film Version) (2:17)
13 – Drive-In Twister** (2:57)
14 – Wakita (Film Version)** (5:19)
15 – Sculptures (Film Version) (3:06)
16 – House Visit (4:47)
17 – The Big Suck (Film Version)** (1:47)
18 – End Title** (2:20)
ADDITIONAL MUSIC
20 – Waterspouts (Alternate)** (2:50)
21 – The Big Suck (Alternate) (1:13)
22 – End Title – Respect The Wind§ (9:21)
**Contains Previously Unreleased Material
§Written & Performed by Edward & Alex Van Halen
"William Tell Overture - Oklahoma Medley"
Produced by Mark Mancina
Vocals by Todd Field & Wendle Josepher
"Oklahoma" Written by Richard Rodgers & Oscar Hammerstein II
Original Score Written, Arranged & Produced by Mark Mancina
Album Executive Producers: Joel Sill & Budd Carr
Executive in Charge of Music for Warner Bros.: Gary LeMel
Album Business Affairs: Keith Zajic
Assistant Music Supervisors: Marylou Eales & Amy Dunn
Solo Guitarist: Trevor Rabin
Nylon Guitars: Doug Smith
Music Editor: Zigmond Gron
Score Mixed by Steve Kempster
Assistant Engineer: Gregg Silk
LA Master Choral Conducted by Paul Salamunovich
Orchestrations by Bruce Fowler, Y.S. Moriarty, Ladd McIntosh, Don Harper & Mark Mancina
Concert Masters: Ralph Morrison & Sid Paige
Percussionist: Mike Fisher
Music Contractor: Sandy DeCrescent
Additional Arranging by Don Harper & John Van Tongeren
Album Compiled by Christopher Ward
Album Mastered by Joe Gastwirt / Oceanview Digital Mastering
Music Librarian: Robbie Boyd
Orchestra & Choir Recorded by Shawn Murphy
Score Recorded at Todd AO & Sony Studios
Special Thanks to: Trevor Rabin, Tony Dimitriades, Gary LeMel, Doug Frank, Kathleen Kennedy, Sam Schwartz, Michael Gorfaine, Glenn Salloum, Michael Kahn, Paul Salamunovich, Steven Spielberg, Ian Bryce, Everybody Who Played & Sang, and a Very Special Thanks to Jan De Bont
Thanks: Val Azzoli, Arthur Moorhead, Kevin Copps, Phil Wild, Jeff Levy, Alexis Atlee, Ray Danniels, Pegi Cecconi, Stuart Rosenthal, Matthew Lesher, Phil Cohen, John Gumbert, Lisa Margolis, Bobby Thornburg, Joyce Ryan, Danny Gould, Ellen Schwartz, Paul Fry, Christina George, Steve Spira, Sandra Smokler, Jeremy Williams, Patti Connolly, Debi Streeter, Rebecca Aquilar, Joseph Billé, Marilyn Azzara, Linda Colianni & Gita Jackson
01 – Wheatfield (1:19)
02 – Where’s My Truck? (0:19)
03 – Futility (2:14)
04 – Downdraft (1:46)
It’s Coming
05 – Drive In (2:37)
06 – The Big Suck (1:09)
The Hunt
07 – Going Green (2:48)
08 – Sculptures (3:03)
09 – Cow (5:37)
10 – Ditch (1:28)
The Damage
11 – Wakita (5:01)
Hailstorm Hill
12 – Bob’s Road (2:10)
13 – We’re Almost There (2:58)
F5
14 – Dorothy IV (1:47)
15 – Mobile Home (4:38)
16 – God’s Finger (1:46)
William Tell
17 – William Tell Overture / Oklahoma Medley – vocal by Todd Field & Wendle Josepher (1:05)
18 – End Title / Respect The Wind – Edward & Alex Van Halen (9:17)
I suppose there is slim chance Mancina is coming back to score Twisters? Twister is probably my favorite Mancina score, neck and neck with Tarzan.
I suppose there is slim chance Mancina is coming back to score Twisters? Twister is probably my favorite Mancina score, neck and neck with Tarzan.
@Stephane You have Project Details on this ?!
No but all is on the LLL.
@Stephane You have Project Details on this ?!
No but all is on the LLL.
superultramegaa,
Good examples, but – as much as I love them – they're just not the same as Twister and say, Jumanji. Hell, put Braveheart in there as well. Fact is, the 90's were an AMAZING decade for adventurous, melodic, exciting, beautiful scores. Scores that "lift you up". The only recent ones that can come close, IMO, are the Hobbit scores.
The recent MV/RC scores you mentioned are solid, but they're nowhere near Twister. With Twister, there's just more meat to the bones. The music fills you up. It's very hard to explain with words. And it's something that rarely happens nowadays, at least from my perspective. Most similar modern scores just feel……emptier. And yes, I talk mainly about mainstream big Hollywood scores. I think Zimmer's Inception was the point where things kinda changed. Sound design, crazy electronics and VROOOOOOOM, BROOOOOOOM play too much of a part nowadays. You rarely get something truly melodic. A real theme. Jablosnky gets really close, Powell gets really close, but still……a lot of it feels too artificial.
Yes, I get it – things change and we can't be stuck with the 90's scores forever, but I don't think things got better with film music. It's really sad actually – Horner (one of the great melodic composers) left us way too soon, Mancina is pretty much gone from mainstream Hollywood, Rabin rarely scores……It's like most of the great "melodic composers" are gone. It's really sad.
superultramegaa,
Good examples, but – as much as I love them – they're just not the same as Twister and say, Jumanji. Hell, put Braveheart in there as well. Fact is, the 90's were an AMAZING decade for adventurous, melodic, exciting, beautiful scores. Scores that "lift you up". The only recent ones that can come close, IMO, are the Hobbit scores.
The recent MV/RC scores you mentioned are solid, but they're nowhere near Twister. With Twister, there's just more meat to the bones. The music fills you up. It's very hard to explain with words. And it's something that rarely happens nowadays, at least from my perspective. Most similar modern scores just feel……emptier. And yes, I talk mainly about mainstream big Hollywood scores. I think Zimmer's Inception was the point where things kinda changed. Sound design, crazy electronics and VROOOOOOOM, BROOOOOOOM play too much of a part nowadays. You rarely get something truly melodic. A real theme. Jablosnky gets really close, Powell gets really close, but still……a lot of it feels too artificial.
Yes, I get it – things change and we can't be stuck with the 90's scores forever, but I don't think things got better with film music. It's really sad actually – Horner (one of the great melodic composers) left us way too soon, Mancina is pretty much gone from mainstream Hollywood, Rabin rarely scores……It's like most of the great "melodic composers" are gone. It's really sad.
The "Leaving Wakita" track is featured on this release (the "La La Land" one).
It's track 9 "Walk in the Woods".
The "Leaving Wakita" track is featured on this release (the "La La Land" one).
It's track 9 "Walk in the Woods".