May 2, 2026
A Night at the Movies: The Film Scores That Make Us Feel Something
I’ve always been attuned to movie scores. The way a piece of music can deepen a moment, shift an atmosphere, or quietly break your heart without a single word of dialogue. So I decided to do something a little different. I put together a special radio edition of Curiously, recorded live at the Dale Dorman Radio Studio at Massasoit Community College, dedicated entirely to movies scores. Not the obvious ones. Not Jurassic Park. Not Forrest Gump. I wanted to play the pieces that deserve more air time.
The playlist spans nearly 90 minutes and 18 tracks. You’ll hear Hans Zimmer’s thunderous submarine theme from Crimson Tide alongside Max Richter’s quietly devastating “On the Nature of Daylight,” which has appeared in more films than almost any other contemporary piece of music. You’ll hear Trent Reznor and Atticus Ross score an afterlife waiting room for Soul, a Pixar film about a jazz musician. You’ll hear a horror movie that has absolutely no right being as overwhelming as it is. And you’ll hear a piece from the movie Tracks, the story of a woman who walked 2,000 miles alone across the Australian Outback, that helped inspire me to take my own solo journey across the United States by motorcycle, which you can watch at Outside Magazine.
In this special episode, you’ll hear scores from:
• Good Will Hunting, Her, Interstellar, and Arrival: films that use music to access what words can’t reach
• Oppenheimer and The Social Network, where the score captures the texture of a complicated mind at work
• Up, and dialogue-free opening sequence that quietly destroys you before the movie has really begun
• The Revenant and Blade Runner 2049, vast and hauntingly atmospheric
• Rudy, Crimson Tide, and Scent of a Woman: propulsive, elegant, and timelessly cinematic
• Hereditary: yes, a horror film made the list, and yes, it earns it
• Moneyball: the post-rock piece that plays us all the way out
📖 My books: https://www.dustingrinnell.com/bio
Transcript
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I'm Dustin Grinnell and welcome
to another radio edition of
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Curiously.
Not too long ago we had the
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Academy Awards.
As a movie lover, I thought it
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would be cool to do a show to
celebrate songs from movies.
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So today we're talking about all
things movie themes.
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I've always loved the music and
cinema.
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I'm highly attuned to the
scores, how they enhance a
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moment or set a mood or
atmosphere.
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So I collected some of my
favorite movie scores.
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I tried to skip the ones
everybody knows, your Jurassic
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Parks, your Forrest Gump's, and
play pieces that deserve more
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airtime.
What all of these songs have in
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common is simple.
They make me feel something.
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You're going to hear a lot of
Hans Zimmer because the man is
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the GOAT behind some of the all
time great scores from Gladiator
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to Inception, Pirates of the
Caribbean to Interstellar.
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You also hear Trent Reznor and
Atticus Ross more than once.
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I love their cool electronic
textural scoring.
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Before each piece, I'll provide
some commentary to give it a
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little context and color for
anyone hoping to nail me on
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copyright violations.
Please don't.
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I'm not selling anything.
I'm just celebrating the music
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and the movies we love.
So tell your lawyers to stand
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down and TuneIn with all that.
Grab some popcorn, get
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comfortable and settle in for a
night at the movies.
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I have to start with something
that has a Boston connection, so
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let's kick things off with
Goodwill Hunting, a story of a
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troubled South Boston janitor at
MIT who is secretly A
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mathematical genius and who
finds his way to a therapist,
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played by Robin Williams, who
helps him find himself.
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Danny Elfman scored the film in
this quiet, understated main
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title.
Sets the emotional tone
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perfectly.
It's tender, a little melancholy
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and unassuming, and frankly
iconic.
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The.
Such a good song.
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Reminds me of the famous quote
Do you like apples?
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I got her number.
So how do you like them apples?
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Next song is from one of my
favorite movies, her from 2013.
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It's this emotional story from
the director and writer Spike
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Jones, and it's about a guy who
is named Theodore, very lonely,
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and he falls in love with his AI
operating system named Samantha.
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The score was composed by Arcade
Fire and Owen Palette and is
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full of aching beauty,
especially Song on the Beach,
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which feels both hopeful and
melancholic, much like the film
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itself.
But my favorite musical piece is
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the song Samantha creates, or
Theodore, which she describes it
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as a kind of musical photograph,
a way of capturing a feeling in
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sound.
So here is that song titled
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Photograph.
The.
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Music.
Really nice piece of music.
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If that's where AI is going for
composing music, we're we're in
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trouble.
So Next up is a movie that
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rightly found itself in the 2025
Best Picture conversation.
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It's called Train Dreams, and
it's this kind of quietly
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stunning film.
My favorite piece of music in
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the movie is called The Great
Mystery, and it's this gorgeous,
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soaring piece that builds
gradually and unfolds into
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something expansive and
uplifting.
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So here it is.
The.
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The.
Really great movie, beautiful
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love story, kind of a
devastating plot twist but
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really shows the resilience of
the human heart and just a
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credible love letter to nature
and being out in the wild.
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O the next song is our first
piece from Hans Zimmer from
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Christopher Nolans epic film
Interstellar.
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It's called Cornfield Chase and
you'll probably recognize it.
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It's a solo piano piece with
this awesome pipe organ swelling
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underneath.
And it plays early in the movie
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while the main character, played
by Matthew McConaughey, is
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driving through a cornfield
while chasing a stray drone.
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But the song returns throughout
the film, in it, and at the very
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end of the film, under this
breathtaking voice over here it
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is.
The.
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The.
Man Hans Zimmer don't miss.
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Just reminds me of the those
final shots at the end of the
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movie when Matthew Hunt Conahay
steals a ship and flies it out
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to go find Anne Hathaway, who is
on a planet that ended up being
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habitable.
She takes her helmet off,
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trusting that she could breathe
the air.
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Pretty awesome scene.
Next up is actually an animated
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movie.
It's a Pixar film called Soul,
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which is about a jazz musician
who, on the day of his big
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break, falls down a manhole and
ends up in the afterlife and
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then what's called the Great
Before.
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It's a kind of cosmic waiting
room where new souls acquire
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their personalities before being
born.
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So this was scored by Trent
Reznor and Atticus Ross and it
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has this kind of otherworldly
sound.
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It's titled the Great Before
Slash U Seminar.
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It's electronic, ethereal and
awe inspiring.
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So here it is.
The.
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The.
Yeah.
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Well, that's a cool song.
If that's playing when I'm
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ascending up to heaven in the
afterlife, I I think I'm going
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to be OK with it.
The next song is going to be
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pretty recognizable.
It's probably one of the most
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moving pieces in this entire
playlist.
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It's called On the Nature of
Daylight and it's a classical
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composition by the British
composer Mac Richter.
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It was originally written in
2004 as part of an anti war
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album and has since become one
of the most widely licensed
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pieces of modern music.
You've probably heard it in
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movies like Shutter Island.
It was in the TV show The Last
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of Us, and most powerfully as
the emotional spine of the 2016
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movie Arrival.
It was used recently in the film
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Hamnit as well.
The reason it keeps appearing in
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so many films is simple.
It is the perfect musical gut
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punch, inspiring and deeply
emotional at the same time.
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Above all, it's just incredibly
beautiful.
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Here it is.
The.
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What a piece of music.
I'm not crying, you're crying.
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Just think of Amy Adams
character in the movie Arrival.
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Just playing with her child and
seeing her child go through some
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things, some challenges that she
didn't expect, or maybe she did
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actually expect it because,
well, you have to watch the
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movie.
But there's some, there's some
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time travel things going on
there.
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And she makes quite a decision
about her kid that frankly kind
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of blew me away.
But that is a beautiful song.
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Apparently Max Richter, who
composed it, he made it just for
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himself.
He had no, you know, intention
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of letting it kind of outside of
his own personal sphere and
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didn't think it would have any
universal appeal and play that.
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That turned out to be the exact
opposite.
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It was also in The Handmaid's
Tale, by the way, and I'm pretty
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sure he's going to be in more
movies going forward.
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So the next movie, we're going
to kind of bring it up a little
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bit is from the movie The Theory
of Everything, and it's the
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story about Stephen Hawking, the
physicist, the brilliant
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physicist who passed several
years ago.
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It's about his brilliant mind,
his illness with ALS and the
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kind of love story that was at
the center of his life.
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The composer Johann Johanneson,
he's from Iceland.
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He wrote the score and it it
somehow feels kind of
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intellectual but also has this
kind of bittersweet wonder that
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kind of captures Hawking's life
and story.
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And the title of the song is The
Theory of Everything.
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Here it is.
All right, moving on to a 2013
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movie titled Tracks.
It's actually a true story of a
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woman named Robin Davidson.
And she was a young Australian
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woman who walked nearly 2000
miles across the Outback by
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herself with four camels and her
dog.
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The score was written by a guy
that I love named Garth
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Stevenson.
And he's a Canadian born
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musician and composer who grew
up in the Rocky Mountains.
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And he has this remarkable gift
for writing music that kind of
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sounds like the landscape.
This film actually helped
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inspire me to take my own long
solo journey.
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It was a motorcycle trip across
the United States that it took
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about 10 years ago.
And I reached out to Stevenson,
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who gave me permission to use
this piece in my own video,
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which depicted that journey and
was later picked up by Outside
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Magazine.
Here it is.
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Music.
Music.
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The.
O That song goes on for about 3
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00:33:21,560 --> 00:33:25,280
more minutes, picks back U, but
I think that's a good place to
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kind of stop it and move on to
the next song.
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O we're going back to Hans
Zimmer, and the movie this time
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is the 2003 movie starring Tom
Cruise called The Last Samurai.
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The movie set in Japan, and it
follows A troubled American
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soldier who's captured during
battle by the samurai.
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And he becomes immersed in their
culture.
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He becomes a part of their
village for a winter.
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They won't let him go and he has
to kind of be their prisoner,
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but he also starts to
assimilate.
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They start to forgive him and
like him a little bit.
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He starts to loosen up, start to
become more friendly, and he
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starts to like them and pick up
some of their culture.
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The main theme from the movie is
called A Way of Life, and it's
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often considered the kind of
crown jewel of the score, and
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it's extraordinary, but it runs
pretty long.
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So today I just want to play
another piece from that movie
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called Spectres in the Fog.
It has this kind of haunting,
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00:34:28,520 --> 00:34:33,719
ancient feeling of a meditative
but battlefield period piece.
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00:34:33,719 --> 00:35:16,080
So here it is.
Music.
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Music.
All right, we are going to stay
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with Hans Zimmer.
Another one from him, same level
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of intensity to this movie is
the 1995 movie Crimson Tide.
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It's the submarine thriller.
Gene Hackman, Denzel Washington.
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They're locked in a standoff
inside a submarine over a
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00:39:04,520 --> 00:39:09,920
nuclear launch order.
The music Roll Tide is pure
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Zimmer.
It's like muscular, propulsive.
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It builds until it explodes.
It's retty long so I'll fade out
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00:39:16,800 --> 00:39:19,040
around the three minute mark,
but if you haven't seen this
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movie, check it out.
It's so good.
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Oh man, I want to run through a
wall after listening to that
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song.
Anyways, let's kind of bring
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down the vibe a little bit.
I think this is probably my
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00:42:42,080 --> 00:42:49,520
favorite song in the list.
It's just so moving, and it is
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00:42:49,520 --> 00:42:54,360
played over an incredibly
touching sequence.
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It's from the movie Up, 2009
Pixar film.
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00:42:59,360 --> 00:43:03,200
It's about an old man who ties
thousands of balloons to his
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00:43:03,200 --> 00:43:07,480
house and floats away to South
America to fulfill a promise he
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00:43:07,480 --> 00:43:11,400
made to his late wife.
But before any of that happens,
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00:43:11,400 --> 00:43:16,800
the film opens with a beautiful
but heartbreaking sequence.
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00:43:17,040 --> 00:43:20,320
It runs for about 4 minutes,
entirely without dialogue.
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We watch a couple fall in love,
build a life together, face
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00:43:25,160 --> 00:43:29,160
heartbreak, grow old, and then
one of them is gone.
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00:43:29,640 --> 00:43:34,920
Michael Giancino scores that
sequence with Married Life, a
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00:43:34,920 --> 00:43:39,920
waltz that starts bright and
hopeful and slowly, quietly
201
00:43:40,120 --> 00:43:42,480
breaks your heart.
Here it is.
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The.
The.
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00:45:24,980 --> 00:45:54,870
The.
The.
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00:46:23,640 --> 00:46:43,840
The.
The.
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Music.
Music.
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00:47:56,540 --> 00:47:59,300
If you haven't seen up, you got
to see that movie.
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00:47:59,300 --> 00:48:03,340
If you want to just pull up the
opening 4 minute sequence with
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00:48:03,340 --> 00:48:06,420
that song on YouTube, you can
find it there too.
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00:48:06,860 --> 00:48:11,580
I just really am touched by that
opening sequence.
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I'll never forget the moment
where the husband and wife go to
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00:48:17,060 --> 00:48:20,200
the hospital and I think they
learn that they can't have a
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00:48:20,200 --> 00:48:24,400
baby.
It's not said explicitly, but
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then it cuts to the woman
sitting outside in the lawn on a
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00:48:29,520 --> 00:48:33,240
chair, letting the sun kind of
just warm her face and her eyes
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00:48:33,240 --> 00:48:37,320
are closed.
And and that that, that moment
216
00:48:37,320 --> 00:48:41,360
always brings tears to my eyes.
Such a heartbreaking way to open
217
00:48:41,360 --> 00:48:44,000
the movie in any type of
storytelling.
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00:48:44,000 --> 00:48:47,640
It's always for a reason.
If we had just opened the movie
219
00:48:47,640 --> 00:48:52,240
with an old guy, an elderly guy
who's a curmudgeon, we would
220
00:48:52,240 --> 00:48:55,600
have not had any empathy or
sympathy for him.
221
00:48:55,600 --> 00:49:00,360
But opening up with that
sequence, we really understand
222
00:49:00,360 --> 00:49:02,800
where he is as a character.
And then when he starts
223
00:49:02,800 --> 00:49:05,960
interacting with the with the
boy, we kind of understand where
224
00:49:05,960 --> 00:49:09,480
he's coming from, where his, you
know, unwillingness to open up
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00:49:09,480 --> 00:49:12,680
is coming from.
So beautiful movie, beautiful
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00:49:12,680 --> 00:49:18,200
piece of music.
All right, The next song comes
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00:49:18,200 --> 00:49:22,960
from the 2023 movie Oppenheimer
by Christopher Nolan.
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00:49:23,320 --> 00:49:27,040
When I first heard this next
song, I I pretty much just
229
00:49:27,040 --> 00:49:29,520
couldn't stop listening to it
for like a week.
230
00:49:30,280 --> 00:49:34,320
It was composed by Ludwig
Goransson, and it's got this
231
00:49:34,320 --> 00:49:39,440
kind of kinetic and cerebral
vibe that just keeps building
232
00:49:39,440 --> 00:49:41,840
and building and adding layers
of complexity.
233
00:49:42,160 --> 00:49:45,200
And I think it perfectly
captures the mind of a young
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00:49:45,200 --> 00:49:47,960
physicist.
Oppenheimer, falling in love
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00:49:47,960 --> 00:49:50,680
with the universe.
Here it is.
236
00:50:34,840 --> 00:51:40,960
The.
Well, it doesn't get much more
237
00:51:40,960 --> 00:51:44,920
intense than that.
So complex, so good.
238
00:51:45,400 --> 00:51:49,520
The next song comes from the
2015 movie The Remnant.
239
00:51:50,040 --> 00:51:54,360
This is a survival epic sent in
the 19th century.
240
00:51:54,600 --> 00:51:58,960
Leonardo DiCaprio plays this
frontiersman, and he's on a fur
241
00:51:58,960 --> 00:52:02,600
trapping expedition in the
American wilderness in the
242
00:52:02,600 --> 00:52:08,600
winter, so the score carries a
kind of desolate, vast, icy
243
00:52:08,640 --> 00:52:12,080
stillness that perfectly mirrors
the landscape.
244
00:52:12,520 --> 00:52:16,160
It's like this endless white
silence stretching in every
245
00:52:16,160 --> 00:52:19,800
direction.
But beneath the bleakness, there
246
00:52:19,840 --> 00:52:23,600
is a faint, persistent glimmer
of hope in this song.
247
00:52:24,120 --> 00:52:27,640
If you've got a winter jacket
nearby, now would be the time to
248
00:52:27,640 --> 00:52:31,280
throw it on.
Here is the main theme from The
249
00:52:31,280 --> 00:53:51,920
Revenant.
Music.
250
00:55:06,340 --> 00:55:16,960
Music.
Oh, man, so bleak, so icy.
251
00:55:16,960 --> 00:55:18,960
It just feels cold listening to
that song.
252
00:55:19,200 --> 00:55:22,040
I love the pauses at the
beginning.
253
00:55:22,200 --> 00:55:25,800
You know, they just really last
longer than you'd think.
254
00:55:26,040 --> 00:55:30,080
And we've got that kind of like,
wind sound effect behind it.
255
00:55:30,520 --> 00:55:35,280
I showed one of my friends from
class, his name's Rocco.
256
00:55:35,280 --> 00:55:39,960
I showed Rocco this playlist in
the second he saw the remnant
257
00:55:40,280 --> 00:55:45,880
main theme, he kind of like
recoiled and said like he didn't
258
00:55:45,880 --> 00:55:48,480
want to hear that song.
And it's because it's such like
259
00:55:48,480 --> 00:55:53,280
a movie about like suffering,
suffering in the, you know, icy
260
00:55:53,280 --> 00:55:56,040
wilderness.
And of course, the the bear
261
00:55:56,040 --> 00:55:58,880
attack scene.
You know, I'm probably not going
262
00:55:58,880 --> 00:56:02,160
to go back and watch that movie.
It was brutal, but good song, a
263
00:56:02,160 --> 00:56:07,280
song that really captured the
landscape, which was its own
264
00:56:07,280 --> 00:56:10,600
character in the movie.
All right, moving on.
265
00:56:10,840 --> 00:56:16,720
Next up it this is like top
three, one of my favorite pieces
266
00:56:16,720 --> 00:56:20,440
of music and any movie.
The movie is Scent of a Woman
267
00:56:20,440 --> 00:56:24,960
from 1992 and it's just such a
good movie.
268
00:56:25,000 --> 00:56:28,240
It's known for Al Pacino's
legendary performance as a
269
00:56:28,240 --> 00:56:33,640
blind, cantankerous retired army
Colonel who meets a young
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00:56:33,640 --> 00:56:39,320
student going through a crisis.
This next song main title is
271
00:56:39,320 --> 00:56:42,960
from Thomas Newman who has
scored so many great films from
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00:56:42,960 --> 00:56:45,880
The Shawshank Redemption to
American Beauty.
273
00:56:46,160 --> 00:56:49,280
This title song runs throughout
the film, but it's most
274
00:56:49,280 --> 00:56:53,120
memorable appearance comes at
the very beginning, over a
275
00:56:53,120 --> 00:56:57,200
montage of prep school students
pouring out of classrooms for
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00:56:57,200 --> 00:57:01,040
Thanksgiving break.
It's elegant, a bit mournful,
277
00:57:01,040 --> 00:59:43,840
and utterly cinematic.
None.
278
01:00:01,720 --> 01:00:05,520
Great movie.
Fun fact, I sometimes used to
279
01:00:05,520 --> 01:00:10,680
when I was younger, pull up the
final speech that Al Pacino
280
01:00:10,680 --> 01:00:13,840
gives at the end.
It's just so generous.
281
01:00:13,840 --> 01:00:18,040
He comes to help his friend to
get him out of a jam, and he
282
01:00:18,040 --> 01:00:19,800
does it.
Whether it's such a moving
283
01:00:19,800 --> 01:00:23,320
speech, you're building a rap
ship here, a vessel for seago
284
01:00:23,320 --> 01:00:26,680
and snitches.
Such a good movie, such a good
285
01:00:26,680 --> 01:00:30,240
speech.
And I think, don't quote me, but
286
01:00:30,240 --> 01:00:33,040
I think Al Pacino won in Oscar
for that.
287
01:00:33,480 --> 01:00:36,120
If he didn't, he should have.
Such a good movie.
288
01:00:36,560 --> 01:00:38,800
Absolutely one of my favorite
movie scores.
289
01:00:39,080 --> 01:00:44,640
All right, let's move on.
Next movie is a sports movie, a
290
01:00:44,640 --> 01:00:48,040
motivational sports movie.
Easily top 10 motivational
291
01:00:48,040 --> 01:00:50,160
sports movie.
It's Rudy.
292
01:00:50,400 --> 01:00:54,600
It's the story of a kid with
absolutely no business playing
293
01:00:54,600 --> 01:00:56,760
Notre Dame football.
It's a true story.
294
01:00:57,160 --> 01:01:00,320
Who this guy?
I fought his way onto the field
295
01:01:00,600 --> 01:01:04,000
with guts and determination
alone.
296
01:01:04,800 --> 01:01:08,280
Every time I hear this song, I
think about that undersized,
297
01:01:08,400 --> 01:01:11,760
underpowered young man with the
heart of a lion.
298
01:01:12,120 --> 01:01:58,120
So here's tryouts.
The.
299
01:02:18,040 --> 01:03:00,920
The.
The.
300
01:03:13,720 --> 01:04:11,040
The.
The.
301
01:04:40,800 --> 01:05:26,420
The.
The.
302
01:05:39,440 --> 01:05:43,440
Classic.
I just think about his final,
303
01:05:43,440 --> 01:05:48,320
Rudy's final game, that play
where he makes a he makes a sack
304
01:05:48,640 --> 01:05:53,120
when he gets sort of one chance
to play any and everybody freaks
305
01:05:53,120 --> 01:05:57,400
out and players run on the field
and lift them up and the
306
01:05:57,400 --> 01:05:59,600
groundskeeper is clapping his
hands.
307
01:06:00,040 --> 01:06:01,480
It doesn't get much better than
that.
308
01:06:01,480 --> 01:06:04,360
You feel like you just want to
jump out of the chair when you
309
01:06:04,360 --> 01:06:08,200
see that, you know, the the
biggest underdog ever win the
310
01:06:08,200 --> 01:06:10,400
day.
So we go Rudy.
311
01:06:10,840 --> 01:06:14,360
So the next movie is actually
we're going to switch into a
312
01:06:14,360 --> 01:06:18,200
genre you might not expect for a
show like this.
313
01:06:18,480 --> 01:06:20,040
And we're going into the horror
genre.
314
01:06:20,360 --> 01:06:22,520
Yes, a horror movie made it onto
the playlist.
315
01:06:22,520 --> 01:06:28,440
So this movie was from 2018, and
it's called Hereditary.
316
01:06:28,960 --> 01:06:33,240
It's a terrifying film.
It was scored by the avant-garde
317
01:06:33,240 --> 01:06:38,280
composer Collin Stetson, and
it's really unlike anything else
318
01:06:38,280 --> 01:06:40,880
on this list.
I think it's kind of viscerally
319
01:06:40,880 --> 01:06:44,680
intense, but also darkly
uplifting at the same time.
320
01:06:45,400 --> 01:06:50,360
The song plays during the film's
final sequence, and it has
321
01:06:50,560 --> 01:06:53,960
absolutely no right being this
overwhelming.
322
01:06:54,400 --> 01:06:58,720
And yet here we are.
I give you Reborn.
323
01:08:40,870 --> 01:09:54,080
The.
None.
324
01:10:19,200 --> 01:10:51,820
The.
Man, that song is something
325
01:10:51,820 --> 01:10:54,100
else.
You could play that song over a
326
01:10:54,100 --> 01:10:57,820
video watching grass grow and
you'd be like, this is the most
327
01:10:57,820 --> 01:11:01,700
profound thing I've ever seen.
Such a crazy song.
328
01:11:01,700 --> 01:11:03,020
You think you're just listening
to.
329
01:11:03,260 --> 01:11:06,940
You think you're just watching
horror movie and all of a sudden
330
01:11:06,940 --> 01:11:10,200
this just incredibly intense
song just takes over.
331
01:11:10,680 --> 01:11:13,560
Yeah.
So let's move on.
332
01:11:14,040 --> 01:11:17,360
We've got 3 songs left.
Let's go back to Boston.
333
01:11:17,360 --> 01:11:23,480
This movie is set in Cambridge.
It's the 2010 movie The Social
334
01:11:23,480 --> 01:11:28,560
Network, and it was created by
Trent Reznor and Atticus Ross.
335
01:11:28,560 --> 01:11:32,040
Again, another piece from them,
and it plays as Mark, the Mark
336
01:11:32,040 --> 01:11:35,640
Zuckerberg character leaves a
bar in Cambridge and cuts across
337
01:11:35,640 --> 01:11:38,520
Harvard Yard on his way back to
his dorm.
338
01:11:39,120 --> 01:11:42,040
This song kind of feels
intellectual and quietly
339
01:11:42,040 --> 01:11:47,000
charged, and it captured
something of Harvard's elite
340
01:11:47,320 --> 01:11:51,520
cerebral atmosphere, but also
kind of a brooding intensity of
341
01:11:51,520 --> 01:11:57,320
a very complicated figure.
So here is hand covers bruise.
342
01:12:42,120 --> 01:13:07,960
The.
The.
343
01:14:36,400 --> 01:15:14,720
The.
The.
344
01:15:58,520 --> 01:16:01,360
So, yeah, great song, favorite
line from that movie.
345
01:16:01,360 --> 01:16:05,280
When the Zuckerberg character
says to the three guys he
346
01:16:05,280 --> 01:16:09,040
basically stole the idea from
for Facebook, he says if you
347
01:16:09,040 --> 01:16:12,080
were the inventors of Facebook,
you would have invented Facebook
348
01:16:12,760 --> 01:16:14,960
in line.
When I was first introduced to
349
01:16:14,960 --> 01:16:19,200
that movie, The Social Network,
I remember seeing the trailer in
350
01:16:19,200 --> 01:16:24,600
theaters and the song that plays
over the trailer was just
351
01:16:24,680 --> 01:16:27,680
awesome too.
It's actually the original song
352
01:16:27,680 --> 01:16:31,640
Creep from Radiohead and the
choir group.
353
01:16:31,920 --> 01:16:36,880
Scala and the Kolenke Brothers
did this cover of Creep during
354
01:16:36,880 --> 01:16:40,000
the original trailer.
Go check it out if you get a
355
01:16:40,000 --> 01:16:40,920
chance.
It's awesome.
356
01:16:41,480 --> 01:16:45,000
All right, two songs left.
The next song back to Hans
357
01:16:45,000 --> 01:16:46,920
Zimmer.
He teams up with Benjamin
358
01:16:46,920 --> 01:16:52,400
Walfish on this next movie,
Blade Runner 2049.
359
01:16:52,400 --> 01:16:57,000
It's a 2017 movie, and it's
actually a sequel to Ridley
360
01:16:57,000 --> 01:16:59,960
Scott's original 1982 Blade
Runner movie.
361
01:17:00,360 --> 01:17:04,560
It's this kind of strange, slow,
lonely film, but quite
362
01:17:04,560 --> 01:17:06,920
beautiful.
Ryan Gosling plays a character
363
01:17:06,920 --> 01:17:09,200
who's discovering who he really
is.
364
01:17:09,640 --> 01:17:14,040
He's also hopelessly in love
with an AI hologram played by
365
01:17:14,040 --> 01:17:17,760
Ana de Armas.
And who wouldn't fall in love
366
01:17:17,760 --> 01:17:20,800
with a hologram of Ana de Armas?
But that's neither here nor
367
01:17:20,800 --> 01:17:24,400
there.
This piece, Mesa is just all
368
01:17:24,480 --> 01:17:28,640
atmosphere.
It's vast, it's immersive, and
369
01:17:28,640 --> 01:17:31,520
it's quietly haunting.
I'll fade it down around one
370
01:17:31,520 --> 01:17:34,600
minute 38 seconds before it goes
super dark.
371
01:18:18,060 --> 01:18:46,560
Music.
The.
372
01:19:51,610 --> 01:19:54,010
And there it is going super
dark.
373
01:19:54,890 --> 01:19:58,290
Moral of the story, don't fall
in love with AI systems.
374
01:19:58,290 --> 01:20:01,250
I don't know.
Next song.
375
01:20:01,610 --> 01:20:06,890
Last song.
It's the 2001 movie Moneyball
376
01:20:06,970 --> 01:20:10,760
with.
Brad Pitt and it's a post rock
377
01:20:10,760 --> 01:20:14,840
piece by the band This Will
Destroy You that became the
378
01:20:14,840 --> 01:20:17,480
Sonic backbone of the movie
Moneyball.
379
01:20:18,640 --> 01:20:21,920
The movie is about the Oakland
A's, a baseball team in the
380
01:20:21,920 --> 01:20:27,320
birth of statistical baseball.
The song builds slowly, almost
381
01:20:27,320 --> 01:20:29,400
unbearably, and then it just
opens up.
382
01:20:29,960 --> 01:20:33,400
It's called the Mighty Rio
Grande, and I'm going to let it
383
01:20:33,400 --> 01:20:37,040
just play us out.
So I want to say thanks for
384
01:20:37,040 --> 01:20:40,480
spending some time with me to
listen to these movie themes and
385
01:20:40,480 --> 01:20:43,360
for tuning into the special
episode of Curiously.
386
01:20:43,720 --> 01:21:46,040
See you next time.
The.
387
01:22:53,320 --> 01:22:53,400
The.
00:00:01,040 --> 00:00:03,960
I'm Dustin Grinnell and welcome
to another radio edition of
2
00:00:03,960 --> 00:00:07,240
Curiously.
Not too long ago we had the
3
00:00:07,240 --> 00:00:10,080
Academy Awards.
As a movie lover, I thought it
4
00:00:10,080 --> 00:00:13,440
would be cool to do a show to
celebrate songs from movies.
5
00:00:13,680 --> 00:00:16,680
So today we're talking about all
things movie themes.
6
00:00:17,360 --> 00:00:19,400
I've always loved the music and
cinema.
7
00:00:19,560 --> 00:00:22,720
I'm highly attuned to the
scores, how they enhance a
8
00:00:22,720 --> 00:00:25,000
moment or set a mood or
atmosphere.
9
00:00:25,840 --> 00:00:28,360
So I collected some of my
favorite movie scores.
10
00:00:28,640 --> 00:00:31,480
I tried to skip the ones
everybody knows, your Jurassic
11
00:00:31,480 --> 00:00:35,400
Parks, your Forrest Gump's, and
play pieces that deserve more
12
00:00:35,400 --> 00:00:37,800
airtime.
What all of these songs have in
13
00:00:37,800 --> 00:00:40,840
common is simple.
They make me feel something.
14
00:00:41,440 --> 00:00:44,120
You're going to hear a lot of
Hans Zimmer because the man is
15
00:00:44,120 --> 00:00:48,120
the GOAT behind some of the all
time great scores from Gladiator
16
00:00:48,120 --> 00:00:51,240
to Inception, Pirates of the
Caribbean to Interstellar.
17
00:00:51,840 --> 00:00:55,400
You also hear Trent Reznor and
Atticus Ross more than once.
18
00:00:55,720 --> 00:00:58,880
I love their cool electronic
textural scoring.
19
00:01:00,240 --> 00:01:03,400
Before each piece, I'll provide
some commentary to give it a
20
00:01:03,400 --> 00:01:07,160
little context and color for
anyone hoping to nail me on
21
00:01:07,160 --> 00:01:09,520
copyright violations.
Please don't.
22
00:01:09,880 --> 00:01:12,640
I'm not selling anything.
I'm just celebrating the music
23
00:01:12,640 --> 00:01:15,400
and the movies we love.
So tell your lawyers to stand
24
00:01:15,400 --> 00:01:20,040
down and TuneIn with all that.
Grab some popcorn, get
25
00:01:20,040 --> 00:01:23,240
comfortable and settle in for a
night at the movies.
26
00:01:44,240 --> 00:01:48,080
I have to start with something
that has a Boston connection, so
27
00:01:48,080 --> 00:01:51,480
let's kick things off with
Goodwill Hunting, a story of a
28
00:01:51,480 --> 00:01:55,640
troubled South Boston janitor at
MIT who is secretly A
29
00:01:55,640 --> 00:01:59,320
mathematical genius and who
finds his way to a therapist,
30
00:01:59,360 --> 00:02:02,360
played by Robin Williams, who
helps him find himself.
31
00:02:02,960 --> 00:02:07,040
Danny Elfman scored the film in
this quiet, understated main
32
00:02:07,040 --> 00:02:09,160
title.
Sets the emotional tone
33
00:02:09,160 --> 00:02:12,320
perfectly.
It's tender, a little melancholy
34
00:02:12,320 --> 00:02:14,840
and unassuming, and frankly
iconic.
35
00:03:51,400 --> 00:04:58,300
The.
Such a good song.
36
00:04:58,740 --> 00:05:02,100
Reminds me of the famous quote
Do you like apples?
37
00:05:02,100 --> 00:05:04,900
I got her number.
So how do you like them apples?
38
00:05:05,260 --> 00:05:12,180
Next song is from one of my
favorite movies, her from 2013.
39
00:05:12,620 --> 00:05:17,180
It's this emotional story from
the director and writer Spike
40
00:05:17,180 --> 00:05:22,800
Jones, and it's about a guy who
is named Theodore, very lonely,
41
00:05:22,880 --> 00:05:27,680
and he falls in love with his AI
operating system named Samantha.
42
00:05:28,800 --> 00:05:33,720
The score was composed by Arcade
Fire and Owen Palette and is
43
00:05:33,720 --> 00:05:37,200
full of aching beauty,
especially Song on the Beach,
44
00:05:37,480 --> 00:05:41,440
which feels both hopeful and
melancholic, much like the film
45
00:05:41,440 --> 00:05:44,560
itself.
But my favorite musical piece is
46
00:05:44,560 --> 00:05:49,280
the song Samantha creates, or
Theodore, which she describes it
47
00:05:49,280 --> 00:05:54,240
as a kind of musical photograph,
a way of capturing a feeling in
48
00:05:54,240 --> 00:05:57,600
sound.
So here is that song titled
49
00:05:57,920 --> 00:07:19,560
Photograph.
The.
50
00:08:17,520 --> 00:08:26,040
Music.
Really nice piece of music.
51
00:08:26,320 --> 00:08:30,840
If that's where AI is going for
composing music, we're we're in
52
00:08:30,840 --> 00:08:33,720
trouble.
So Next up is a movie that
53
00:08:33,720 --> 00:08:38,200
rightly found itself in the 2025
Best Picture conversation.
54
00:08:38,640 --> 00:08:41,960
It's called Train Dreams, and
it's this kind of quietly
55
00:08:42,159 --> 00:08:45,560
stunning film.
My favorite piece of music in
56
00:08:45,560 --> 00:08:50,040
the movie is called The Great
Mystery, and it's this gorgeous,
57
00:08:50,200 --> 00:08:53,640
soaring piece that builds
gradually and unfolds into
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00:08:53,640 --> 00:08:56,880
something expansive and
uplifting.
59
00:08:57,280 --> 00:09:48,840
So here it is.
The.
60
00:10:39,880 --> 00:11:14,080
The.
Really great movie, beautiful
61
00:11:14,080 --> 00:11:17,840
love story, kind of a
devastating plot twist but
62
00:11:18,000 --> 00:11:21,200
really shows the resilience of
the human heart and just a
63
00:11:21,320 --> 00:11:27,240
credible love letter to nature
and being out in the wild.
64
00:11:27,760 --> 00:11:33,520
O the next song is our first
piece from Hans Zimmer from
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00:11:33,520 --> 00:11:36,400
Christopher Nolans epic film
Interstellar.
66
00:11:37,120 --> 00:11:40,560
It's called Cornfield Chase and
you'll probably recognize it.
67
00:11:40,560 --> 00:11:45,760
It's a solo piano piece with
this awesome pipe organ swelling
68
00:11:45,760 --> 00:11:47,840
underneath.
And it plays early in the movie
69
00:11:48,000 --> 00:11:51,280
while the main character, played
by Matthew McConaughey, is
70
00:11:51,280 --> 00:11:55,080
driving through a cornfield
while chasing a stray drone.
71
00:11:55,480 --> 00:11:58,600
But the song returns throughout
the film, in it, and at the very
72
00:11:58,600 --> 00:12:02,440
end of the film, under this
breathtaking voice over here it
73
00:12:02,440 --> 00:13:01,920
is.
The.
74
00:13:50,730 --> 00:14:15,480
The.
Man Hans Zimmer don't miss.
75
00:14:15,880 --> 00:14:19,040
Just reminds me of the those
final shots at the end of the
76
00:14:19,040 --> 00:14:23,760
movie when Matthew Hunt Conahay
steals a ship and flies it out
77
00:14:23,880 --> 00:14:29,680
to go find Anne Hathaway, who is
on a planet that ended up being
78
00:14:29,800 --> 00:14:32,000
habitable.
She takes her helmet off,
79
00:14:32,680 --> 00:14:35,920
trusting that she could breathe
the air.
80
00:14:36,160 --> 00:14:39,840
Pretty awesome scene.
Next up is actually an animated
81
00:14:39,840 --> 00:14:43,120
movie.
It's a Pixar film called Soul,
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00:14:43,480 --> 00:14:46,800
which is about a jazz musician
who, on the day of his big
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00:14:46,800 --> 00:14:51,640
break, falls down a manhole and
ends up in the afterlife and
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00:14:51,640 --> 00:14:53,600
then what's called the Great
Before.
85
00:14:53,920 --> 00:14:57,960
It's a kind of cosmic waiting
room where new souls acquire
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00:14:57,960 --> 00:15:00,560
their personalities before being
born.
87
00:15:01,360 --> 00:15:05,400
So this was scored by Trent
Reznor and Atticus Ross and it
88
00:15:05,400 --> 00:15:07,960
has this kind of otherworldly
sound.
89
00:15:07,960 --> 00:15:11,360
It's titled the Great Before
Slash U Seminar.
90
00:15:11,720 --> 00:15:15,040
It's electronic, ethereal and
awe inspiring.
91
00:15:15,520 --> 00:16:20,520
So here it is.
The.
92
00:17:21,359 --> 00:17:54,560
The.
Yeah.
93
00:18:36,700 --> 00:18:39,100
Well, that's a cool song.
If that's playing when I'm
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00:18:39,700 --> 00:18:43,100
ascending up to heaven in the
afterlife, I I think I'm going
95
00:18:43,140 --> 00:18:47,340
to be OK with it.
The next song is going to be
96
00:18:47,340 --> 00:18:51,340
pretty recognizable.
It's probably one of the most
97
00:18:51,340 --> 00:18:53,260
moving pieces in this entire
playlist.
98
00:18:53,600 --> 00:18:56,680
It's called On the Nature of
Daylight and it's a classical
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00:18:56,680 --> 00:18:59,960
composition by the British
composer Mac Richter.
100
00:19:00,320 --> 00:19:03,960
It was originally written in
2004 as part of an anti war
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00:19:03,960 --> 00:19:07,280
album and has since become one
of the most widely licensed
102
00:19:07,280 --> 00:19:10,840
pieces of modern music.
You've probably heard it in
103
00:19:10,840 --> 00:19:13,840
movies like Shutter Island.
It was in the TV show The Last
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00:19:13,840 --> 00:19:18,440
of Us, and most powerfully as
the emotional spine of the 2016
105
00:19:18,440 --> 00:19:21,200
movie Arrival.
It was used recently in the film
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00:19:21,200 --> 00:19:24,400
Hamnit as well.
The reason it keeps appearing in
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00:19:24,400 --> 00:19:28,240
so many films is simple.
It is the perfect musical gut
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00:19:28,240 --> 00:19:32,320
punch, inspiring and deeply
emotional at the same time.
109
00:19:32,600 --> 00:19:35,800
Above all, it's just incredibly
beautiful.
110
00:19:36,400 --> 00:22:30,640
Here it is.
The.
111
00:25:52,430 --> 00:25:55,310
What a piece of music.
I'm not crying, you're crying.
112
00:25:55,670 --> 00:25:58,830
Just think of Amy Adams
character in the movie Arrival.
113
00:25:58,830 --> 00:26:04,120
Just playing with her child and
seeing her child go through some
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00:26:04,120 --> 00:26:09,280
things, some challenges that she
didn't expect, or maybe she did
115
00:26:09,280 --> 00:26:12,280
actually expect it because,
well, you have to watch the
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00:26:12,280 --> 00:26:14,320
movie.
But there's some, there's some
117
00:26:14,520 --> 00:26:16,600
time travel things going on
there.
118
00:26:16,640 --> 00:26:22,400
And she makes quite a decision
about her kid that frankly kind
119
00:26:22,400 --> 00:26:25,040
of blew me away.
But that is a beautiful song.
120
00:26:25,200 --> 00:26:29,440
Apparently Max Richter, who
composed it, he made it just for
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00:26:29,440 --> 00:26:32,520
himself.
He had no, you know, intention
122
00:26:32,520 --> 00:26:36,520
of letting it kind of outside of
his own personal sphere and
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00:26:36,520 --> 00:26:40,040
didn't think it would have any
universal appeal and play that.
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00:26:40,080 --> 00:26:43,000
That turned out to be the exact
opposite.
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00:26:43,360 --> 00:26:46,760
It was also in The Handmaid's
Tale, by the way, and I'm pretty
126
00:26:46,760 --> 00:26:49,720
sure he's going to be in more
movies going forward.
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00:26:50,160 --> 00:26:53,520
So the next movie, we're going
to kind of bring it up a little
128
00:26:53,520 --> 00:26:59,200
bit is from the movie The Theory
of Everything, and it's the
129
00:26:59,200 --> 00:27:02,400
story about Stephen Hawking, the
physicist, the brilliant
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00:27:02,400 --> 00:27:04,240
physicist who passed several
years ago.
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00:27:04,600 --> 00:27:09,880
It's about his brilliant mind,
his illness with ALS and the
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00:27:09,880 --> 00:27:12,240
kind of love story that was at
the center of his life.
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00:27:12,320 --> 00:27:16,520
The composer Johann Johanneson,
he's from Iceland.
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00:27:17,040 --> 00:27:20,200
He wrote the score and it it
somehow feels kind of
135
00:27:20,200 --> 00:27:24,360
intellectual but also has this
kind of bittersweet wonder that
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00:27:24,360 --> 00:27:27,200
kind of captures Hawking's life
and story.
137
00:27:27,600 --> 00:27:29,680
And the title of the song is The
Theory of Everything.
138
00:27:30,360 --> 00:28:41,610
Here it is.
All right, moving on to a 2013
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00:28:41,610 --> 00:28:45,520
movie titled Tracks.
It's actually a true story of a
140
00:28:45,520 --> 00:28:49,400
woman named Robin Davidson.
And she was a young Australian
141
00:28:49,400 --> 00:28:53,800
woman who walked nearly 2000
miles across the Outback by
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00:28:53,800 --> 00:28:56,880
herself with four camels and her
dog.
143
00:28:57,440 --> 00:29:01,200
The score was written by a guy
that I love named Garth
144
00:29:01,200 --> 00:29:03,640
Stevenson.
And he's a Canadian born
145
00:29:03,640 --> 00:29:07,120
musician and composer who grew
up in the Rocky Mountains.
146
00:29:07,560 --> 00:29:11,120
And he has this remarkable gift
for writing music that kind of
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00:29:11,120 --> 00:29:14,200
sounds like the landscape.
This film actually helped
148
00:29:14,200 --> 00:29:17,200
inspire me to take my own long
solo journey.
149
00:29:17,520 --> 00:29:20,640
It was a motorcycle trip across
the United States that it took
150
00:29:20,640 --> 00:29:24,320
about 10 years ago.
And I reached out to Stevenson,
151
00:29:24,520 --> 00:29:27,920
who gave me permission to use
this piece in my own video,
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00:29:28,200 --> 00:29:32,080
which depicted that journey and
was later picked up by Outside
153
00:29:32,080 --> 00:29:33,760
Magazine.
Here it is.
154
00:30:57,960 --> 00:32:39,160
Music.
Music.
155
00:32:57,640 --> 00:33:21,560
The.
O That song goes on for about 3
156
00:33:21,560 --> 00:33:25,280
more minutes, picks back U, but
I think that's a good place to
157
00:33:25,280 --> 00:33:27,760
kind of stop it and move on to
the next song.
158
00:33:28,360 --> 00:33:33,080
O we're going back to Hans
Zimmer, and the movie this time
159
00:33:33,080 --> 00:33:38,240
is the 2003 movie starring Tom
Cruise called The Last Samurai.
160
00:33:38,640 --> 00:33:42,440
The movie set in Japan, and it
follows A troubled American
161
00:33:42,440 --> 00:33:46,480
soldier who's captured during
battle by the samurai.
162
00:33:46,680 --> 00:33:48,840
And he becomes immersed in their
culture.
163
00:33:48,840 --> 00:33:52,680
He becomes a part of their
village for a winter.
164
00:33:52,760 --> 00:33:56,200
They won't let him go and he has
to kind of be their prisoner,
165
00:33:56,200 --> 00:33:58,320
but he also starts to
assimilate.
166
00:33:58,560 --> 00:34:01,920
They start to forgive him and
like him a little bit.
167
00:34:02,240 --> 00:34:06,840
He starts to loosen up, start to
become more friendly, and he
168
00:34:06,840 --> 00:34:10,040
starts to like them and pick up
some of their culture.
169
00:34:10,880 --> 00:34:14,719
The main theme from the movie is
called A Way of Life, and it's
170
00:34:14,719 --> 00:34:18,360
often considered the kind of
crown jewel of the score, and
171
00:34:18,360 --> 00:34:20,480
it's extraordinary, but it runs
pretty long.
172
00:34:20,480 --> 00:34:23,920
So today I just want to play
another piece from that movie
173
00:34:23,920 --> 00:34:28,440
called Spectres in the Fog.
It has this kind of haunting,
174
00:34:28,520 --> 00:34:33,719
ancient feeling of a meditative
but battlefield period piece.
175
00:34:33,719 --> 00:35:16,080
So here it is.
Music.
176
00:37:07,880 --> 00:38:47,480
Music.
All right, we are going to stay
177
00:38:47,480 --> 00:38:50,920
with Hans Zimmer.
Another one from him, same level
178
00:38:50,920 --> 00:38:56,840
of intensity to this movie is
the 1995 movie Crimson Tide.
179
00:38:56,840 --> 00:39:01,160
It's the submarine thriller.
Gene Hackman, Denzel Washington.
180
00:39:01,160 --> 00:39:04,520
They're locked in a standoff
inside a submarine over a
181
00:39:04,520 --> 00:39:09,920
nuclear launch order.
The music Roll Tide is pure
182
00:39:09,920 --> 00:39:13,000
Zimmer.
It's like muscular, propulsive.
183
00:39:13,040 --> 00:39:16,800
It builds until it explodes.
It's retty long so I'll fade out
184
00:39:16,800 --> 00:39:19,040
around the three minute mark,
but if you haven't seen this
185
00:39:19,040 --> 00:39:21,240
movie, check it out.
It's so good.
186
00:42:30,860 --> 00:42:33,680
Oh man, I want to run through a
wall after listening to that
187
00:42:33,680 --> 00:42:36,680
song.
Anyways, let's kind of bring
188
00:42:36,680 --> 00:42:42,080
down the vibe a little bit.
I think this is probably my
189
00:42:42,080 --> 00:42:49,520
favorite song in the list.
It's just so moving, and it is
190
00:42:49,520 --> 00:42:54,360
played over an incredibly
touching sequence.
191
00:42:54,720 --> 00:42:59,000
It's from the movie Up, 2009
Pixar film.
192
00:42:59,360 --> 00:43:03,200
It's about an old man who ties
thousands of balloons to his
193
00:43:03,200 --> 00:43:07,480
house and floats away to South
America to fulfill a promise he
194
00:43:07,480 --> 00:43:11,400
made to his late wife.
But before any of that happens,
195
00:43:11,400 --> 00:43:16,800
the film opens with a beautiful
but heartbreaking sequence.
196
00:43:17,040 --> 00:43:20,320
It runs for about 4 minutes,
entirely without dialogue.
197
00:43:21,120 --> 00:43:25,160
We watch a couple fall in love,
build a life together, face
198
00:43:25,160 --> 00:43:29,160
heartbreak, grow old, and then
one of them is gone.
199
00:43:29,640 --> 00:43:34,920
Michael Giancino scores that
sequence with Married Life, a
200
00:43:34,920 --> 00:43:39,920
waltz that starts bright and
hopeful and slowly, quietly
201
00:43:40,120 --> 00:43:42,480
breaks your heart.
Here it is.
202
00:44:15,440 --> 00:44:45,520
The.
The.
203
00:45:24,980 --> 00:45:54,870
The.
The.
204
00:46:23,640 --> 00:46:43,840
The.
The.
205
00:47:09,560 --> 00:47:39,680
Music.
Music.
206
00:47:56,540 --> 00:47:59,300
If you haven't seen up, you got
to see that movie.
207
00:47:59,300 --> 00:48:03,340
If you want to just pull up the
opening 4 minute sequence with
208
00:48:03,340 --> 00:48:06,420
that song on YouTube, you can
find it there too.
209
00:48:06,860 --> 00:48:11,580
I just really am touched by that
opening sequence.
210
00:48:11,580 --> 00:48:17,060
I'll never forget the moment
where the husband and wife go to
211
00:48:17,060 --> 00:48:20,200
the hospital and I think they
learn that they can't have a
212
00:48:20,200 --> 00:48:24,400
baby.
It's not said explicitly, but
213
00:48:24,400 --> 00:48:29,520
then it cuts to the woman
sitting outside in the lawn on a
214
00:48:29,520 --> 00:48:33,240
chair, letting the sun kind of
just warm her face and her eyes
215
00:48:33,240 --> 00:48:37,320
are closed.
And and that that, that moment
216
00:48:37,320 --> 00:48:41,360
always brings tears to my eyes.
Such a heartbreaking way to open
217
00:48:41,360 --> 00:48:44,000
the movie in any type of
storytelling.
218
00:48:44,000 --> 00:48:47,640
It's always for a reason.
If we had just opened the movie
219
00:48:47,640 --> 00:48:52,240
with an old guy, an elderly guy
who's a curmudgeon, we would
220
00:48:52,240 --> 00:48:55,600
have not had any empathy or
sympathy for him.
221
00:48:55,600 --> 00:49:00,360
But opening up with that
sequence, we really understand
222
00:49:00,360 --> 00:49:02,800
where he is as a character.
And then when he starts
223
00:49:02,800 --> 00:49:05,960
interacting with the with the
boy, we kind of understand where
224
00:49:05,960 --> 00:49:09,480
he's coming from, where his, you
know, unwillingness to open up
225
00:49:09,480 --> 00:49:12,680
is coming from.
So beautiful movie, beautiful
226
00:49:12,680 --> 00:49:18,200
piece of music.
All right, The next song comes
227
00:49:18,200 --> 00:49:22,960
from the 2023 movie Oppenheimer
by Christopher Nolan.
228
00:49:23,320 --> 00:49:27,040
When I first heard this next
song, I I pretty much just
229
00:49:27,040 --> 00:49:29,520
couldn't stop listening to it
for like a week.
230
00:49:30,280 --> 00:49:34,320
It was composed by Ludwig
Goransson, and it's got this
231
00:49:34,320 --> 00:49:39,440
kind of kinetic and cerebral
vibe that just keeps building
232
00:49:39,440 --> 00:49:41,840
and building and adding layers
of complexity.
233
00:49:42,160 --> 00:49:45,200
And I think it perfectly
captures the mind of a young
234
00:49:45,200 --> 00:49:47,960
physicist.
Oppenheimer, falling in love
235
00:49:47,960 --> 00:49:50,680
with the universe.
Here it is.
236
00:50:34,840 --> 00:51:40,960
The.
Well, it doesn't get much more
237
00:51:40,960 --> 00:51:44,920
intense than that.
So complex, so good.
238
00:51:45,400 --> 00:51:49,520
The next song comes from the
2015 movie The Remnant.
239
00:51:50,040 --> 00:51:54,360
This is a survival epic sent in
the 19th century.
240
00:51:54,600 --> 00:51:58,960
Leonardo DiCaprio plays this
frontiersman, and he's on a fur
241
00:51:58,960 --> 00:52:02,600
trapping expedition in the
American wilderness in the
242
00:52:02,600 --> 00:52:08,600
winter, so the score carries a
kind of desolate, vast, icy
243
00:52:08,640 --> 00:52:12,080
stillness that perfectly mirrors
the landscape.
244
00:52:12,520 --> 00:52:16,160
It's like this endless white
silence stretching in every
245
00:52:16,160 --> 00:52:19,800
direction.
But beneath the bleakness, there
246
00:52:19,840 --> 00:52:23,600
is a faint, persistent glimmer
of hope in this song.
247
00:52:24,120 --> 00:52:27,640
If you've got a winter jacket
nearby, now would be the time to
248
00:52:27,640 --> 00:52:31,280
throw it on.
Here is the main theme from The
249
00:52:31,280 --> 00:53:51,920
Revenant.
Music.
250
00:55:06,340 --> 00:55:16,960
Music.
Oh, man, so bleak, so icy.
251
00:55:16,960 --> 00:55:18,960
It just feels cold listening to
that song.
252
00:55:19,200 --> 00:55:22,040
I love the pauses at the
beginning.
253
00:55:22,200 --> 00:55:25,800
You know, they just really last
longer than you'd think.
254
00:55:26,040 --> 00:55:30,080
And we've got that kind of like,
wind sound effect behind it.
255
00:55:30,520 --> 00:55:35,280
I showed one of my friends from
class, his name's Rocco.
256
00:55:35,280 --> 00:55:39,960
I showed Rocco this playlist in
the second he saw the remnant
257
00:55:40,280 --> 00:55:45,880
main theme, he kind of like
recoiled and said like he didn't
258
00:55:45,880 --> 00:55:48,480
want to hear that song.
And it's because it's such like
259
00:55:48,480 --> 00:55:53,280
a movie about like suffering,
suffering in the, you know, icy
260
00:55:53,280 --> 00:55:56,040
wilderness.
And of course, the the bear
261
00:55:56,040 --> 00:55:58,880
attack scene.
You know, I'm probably not going
262
00:55:58,880 --> 00:56:02,160
to go back and watch that movie.
It was brutal, but good song, a
263
00:56:02,160 --> 00:56:07,280
song that really captured the
landscape, which was its own
264
00:56:07,280 --> 00:56:10,600
character in the movie.
All right, moving on.
265
00:56:10,840 --> 00:56:16,720
Next up it this is like top
three, one of my favorite pieces
266
00:56:16,720 --> 00:56:20,440
of music and any movie.
The movie is Scent of a Woman
267
00:56:20,440 --> 00:56:24,960
from 1992 and it's just such a
good movie.
268
00:56:25,000 --> 00:56:28,240
It's known for Al Pacino's
legendary performance as a
269
00:56:28,240 --> 00:56:33,640
blind, cantankerous retired army
Colonel who meets a young
270
00:56:33,640 --> 00:56:39,320
student going through a crisis.
This next song main title is
271
00:56:39,320 --> 00:56:42,960
from Thomas Newman who has
scored so many great films from
272
00:56:42,960 --> 00:56:45,880
The Shawshank Redemption to
American Beauty.
273
00:56:46,160 --> 00:56:49,280
This title song runs throughout
the film, but it's most
274
00:56:49,280 --> 00:56:53,120
memorable appearance comes at
the very beginning, over a
275
00:56:53,120 --> 00:56:57,200
montage of prep school students
pouring out of classrooms for
276
00:56:57,200 --> 00:57:01,040
Thanksgiving break.
It's elegant, a bit mournful,
277
00:57:01,040 --> 00:59:43,840
and utterly cinematic.
None.
278
01:00:01,720 --> 01:00:05,520
Great movie.
Fun fact, I sometimes used to
279
01:00:05,520 --> 01:00:10,680
when I was younger, pull up the
final speech that Al Pacino
280
01:00:10,680 --> 01:00:13,840
gives at the end.
It's just so generous.
281
01:00:13,840 --> 01:00:18,040
He comes to help his friend to
get him out of a jam, and he
282
01:00:18,040 --> 01:00:19,800
does it.
Whether it's such a moving
283
01:00:19,800 --> 01:00:23,320
speech, you're building a rap
ship here, a vessel for seago
284
01:00:23,320 --> 01:00:26,680
and snitches.
Such a good movie, such a good
285
01:00:26,680 --> 01:00:30,240
speech.
And I think, don't quote me, but
286
01:00:30,240 --> 01:00:33,040
I think Al Pacino won in Oscar
for that.
287
01:00:33,480 --> 01:00:36,120
If he didn't, he should have.
Such a good movie.
288
01:00:36,560 --> 01:00:38,800
Absolutely one of my favorite
movie scores.
289
01:00:39,080 --> 01:00:44,640
All right, let's move on.
Next movie is a sports movie, a
290
01:00:44,640 --> 01:00:48,040
motivational sports movie.
Easily top 10 motivational
291
01:00:48,040 --> 01:00:50,160
sports movie.
It's Rudy.
292
01:00:50,400 --> 01:00:54,600
It's the story of a kid with
absolutely no business playing
293
01:00:54,600 --> 01:00:56,760
Notre Dame football.
It's a true story.
294
01:00:57,160 --> 01:01:00,320
Who this guy?
I fought his way onto the field
295
01:01:00,600 --> 01:01:04,000
with guts and determination
alone.
296
01:01:04,800 --> 01:01:08,280
Every time I hear this song, I
think about that undersized,
297
01:01:08,400 --> 01:01:11,760
underpowered young man with the
heart of a lion.
298
01:01:12,120 --> 01:01:58,120
So here's tryouts.
The.
299
01:02:18,040 --> 01:03:00,920
The.
The.
300
01:03:13,720 --> 01:04:11,040
The.
The.
301
01:04:40,800 --> 01:05:26,420
The.
The.
302
01:05:39,440 --> 01:05:43,440
Classic.
I just think about his final,
303
01:05:43,440 --> 01:05:48,320
Rudy's final game, that play
where he makes a he makes a sack
304
01:05:48,640 --> 01:05:53,120
when he gets sort of one chance
to play any and everybody freaks
305
01:05:53,120 --> 01:05:57,400
out and players run on the field
and lift them up and the
306
01:05:57,400 --> 01:05:59,600
groundskeeper is clapping his
hands.
307
01:06:00,040 --> 01:06:01,480
It doesn't get much better than
that.
308
01:06:01,480 --> 01:06:04,360
You feel like you just want to
jump out of the chair when you
309
01:06:04,360 --> 01:06:08,200
see that, you know, the the
biggest underdog ever win the
310
01:06:08,200 --> 01:06:10,400
day.
So we go Rudy.
311
01:06:10,840 --> 01:06:14,360
So the next movie is actually
we're going to switch into a
312
01:06:14,360 --> 01:06:18,200
genre you might not expect for a
show like this.
313
01:06:18,480 --> 01:06:20,040
And we're going into the horror
genre.
314
01:06:20,360 --> 01:06:22,520
Yes, a horror movie made it onto
the playlist.
315
01:06:22,520 --> 01:06:28,440
So this movie was from 2018, and
it's called Hereditary.
316
01:06:28,960 --> 01:06:33,240
It's a terrifying film.
It was scored by the avant-garde
317
01:06:33,240 --> 01:06:38,280
composer Collin Stetson, and
it's really unlike anything else
318
01:06:38,280 --> 01:06:40,880
on this list.
I think it's kind of viscerally
319
01:06:40,880 --> 01:06:44,680
intense, but also darkly
uplifting at the same time.
320
01:06:45,400 --> 01:06:50,360
The song plays during the film's
final sequence, and it has
321
01:06:50,560 --> 01:06:53,960
absolutely no right being this
overwhelming.
322
01:06:54,400 --> 01:06:58,720
And yet here we are.
I give you Reborn.
323
01:08:40,870 --> 01:09:54,080
The.
None.
324
01:10:19,200 --> 01:10:51,820
The.
Man, that song is something
325
01:10:51,820 --> 01:10:54,100
else.
You could play that song over a
326
01:10:54,100 --> 01:10:57,820
video watching grass grow and
you'd be like, this is the most
327
01:10:57,820 --> 01:11:01,700
profound thing I've ever seen.
Such a crazy song.
328
01:11:01,700 --> 01:11:03,020
You think you're just listening
to.
329
01:11:03,260 --> 01:11:06,940
You think you're just watching
horror movie and all of a sudden
330
01:11:06,940 --> 01:11:10,200
this just incredibly intense
song just takes over.
331
01:11:10,680 --> 01:11:13,560
Yeah.
So let's move on.
332
01:11:14,040 --> 01:11:17,360
We've got 3 songs left.
Let's go back to Boston.
333
01:11:17,360 --> 01:11:23,480
This movie is set in Cambridge.
It's the 2010 movie The Social
334
01:11:23,480 --> 01:11:28,560
Network, and it was created by
Trent Reznor and Atticus Ross.
335
01:11:28,560 --> 01:11:32,040
Again, another piece from them,
and it plays as Mark, the Mark
336
01:11:32,040 --> 01:11:35,640
Zuckerberg character leaves a
bar in Cambridge and cuts across
337
01:11:35,640 --> 01:11:38,520
Harvard Yard on his way back to
his dorm.
338
01:11:39,120 --> 01:11:42,040
This song kind of feels
intellectual and quietly
339
01:11:42,040 --> 01:11:47,000
charged, and it captured
something of Harvard's elite
340
01:11:47,320 --> 01:11:51,520
cerebral atmosphere, but also
kind of a brooding intensity of
341
01:11:51,520 --> 01:11:57,320
a very complicated figure.
So here is hand covers bruise.
342
01:12:42,120 --> 01:13:07,960
The.
The.
343
01:14:36,400 --> 01:15:14,720
The.
The.
344
01:15:58,520 --> 01:16:01,360
So, yeah, great song, favorite
line from that movie.
345
01:16:01,360 --> 01:16:05,280
When the Zuckerberg character
says to the three guys he
346
01:16:05,280 --> 01:16:09,040
basically stole the idea from
for Facebook, he says if you
347
01:16:09,040 --> 01:16:12,080
were the inventors of Facebook,
you would have invented Facebook
348
01:16:12,760 --> 01:16:14,960
in line.
When I was first introduced to
349
01:16:14,960 --> 01:16:19,200
that movie, The Social Network,
I remember seeing the trailer in
350
01:16:19,200 --> 01:16:24,600
theaters and the song that plays
over the trailer was just
351
01:16:24,680 --> 01:16:27,680
awesome too.
It's actually the original song
352
01:16:27,680 --> 01:16:31,640
Creep from Radiohead and the
choir group.
353
01:16:31,920 --> 01:16:36,880
Scala and the Kolenke Brothers
did this cover of Creep during
354
01:16:36,880 --> 01:16:40,000
the original trailer.
Go check it out if you get a
355
01:16:40,000 --> 01:16:40,920
chance.
It's awesome.
356
01:16:41,480 --> 01:16:45,000
All right, two songs left.
The next song back to Hans
357
01:16:45,000 --> 01:16:46,920
Zimmer.
He teams up with Benjamin
358
01:16:46,920 --> 01:16:52,400
Walfish on this next movie,
Blade Runner 2049.
359
01:16:52,400 --> 01:16:57,000
It's a 2017 movie, and it's
actually a sequel to Ridley
360
01:16:57,000 --> 01:16:59,960
Scott's original 1982 Blade
Runner movie.
361
01:17:00,360 --> 01:17:04,560
It's this kind of strange, slow,
lonely film, but quite
362
01:17:04,560 --> 01:17:06,920
beautiful.
Ryan Gosling plays a character
363
01:17:06,920 --> 01:17:09,200
who's discovering who he really
is.
364
01:17:09,640 --> 01:17:14,040
He's also hopelessly in love
with an AI hologram played by
365
01:17:14,040 --> 01:17:17,760
Ana de Armas.
And who wouldn't fall in love
366
01:17:17,760 --> 01:17:20,800
with a hologram of Ana de Armas?
But that's neither here nor
367
01:17:20,800 --> 01:17:24,400
there.
This piece, Mesa is just all
368
01:17:24,480 --> 01:17:28,640
atmosphere.
It's vast, it's immersive, and
369
01:17:28,640 --> 01:17:31,520
it's quietly haunting.
I'll fade it down around one
370
01:17:31,520 --> 01:17:34,600
minute 38 seconds before it goes
super dark.
371
01:18:18,060 --> 01:18:46,560
Music.
The.
372
01:19:51,610 --> 01:19:54,010
And there it is going super
dark.
373
01:19:54,890 --> 01:19:58,290
Moral of the story, don't fall
in love with AI systems.
374
01:19:58,290 --> 01:20:01,250
I don't know.
Next song.
375
01:20:01,610 --> 01:20:06,890
Last song.
It's the 2001 movie Moneyball
376
01:20:06,970 --> 01:20:10,760
with.
Brad Pitt and it's a post rock
377
01:20:10,760 --> 01:20:14,840
piece by the band This Will
Destroy You that became the
378
01:20:14,840 --> 01:20:17,480
Sonic backbone of the movie
Moneyball.
379
01:20:18,640 --> 01:20:21,920
The movie is about the Oakland
A's, a baseball team in the
380
01:20:21,920 --> 01:20:27,320
birth of statistical baseball.
The song builds slowly, almost
381
01:20:27,320 --> 01:20:29,400
unbearably, and then it just
opens up.
382
01:20:29,960 --> 01:20:33,400
It's called the Mighty Rio
Grande, and I'm going to let it
383
01:20:33,400 --> 01:20:37,040
just play us out.
So I want to say thanks for
384
01:20:37,040 --> 01:20:40,480
spending some time with me to
listen to these movie themes and
385
01:20:40,480 --> 01:20:43,360
for tuning into the special
episode of Curiously.
386
01:20:43,720 --> 01:21:46,040
See you next time.
The.
387
01:22:53,320 --> 01:22:53,400
The.