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Close Encounters of the Third Kind--Collector's Edition (two discs) [DVD] [1978] DVD ~ Richard Dreyfuss |
~ Original Soundtrack
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~ Tyler Bates
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![Vertigo: Original Soundtrack [SOUNDTRACK]](http://ecx.images-amazon.com/images/I/31NJGN5A4GL._SL500_SS90_.jpg)
~ Bernard Herrmann
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~ Various
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Track Listings
| 1. Opening | |||
| 2. Let There Be Light | |||
| 3. Navy Planes | |||
| 4. Lost Squadron | |||
| 5. Roy's First Encounter | |||
| 6. Encounter At Crescendo Summit | |||
| 7. Chasing UFO's | |||
| 8. False Alarm | |||
| 9. Barry's Kidnapping | |||
| 10. Cover Up | |||
| 11. Stars And Trucks | |||
| 12. Forming The Mountain | |||
| 13. TV Reveals | |||
| 14. Roy And Gillian On The Road | |||
| 15. Mountain | |||
| 16. Who Are The People | |||
| 17. Escape | |||
| 18. Trucking | |||
| 19. Climbing The Mountain | |||
| 20. Outstretch Hands | |||
See all 25 tracks on this disc
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On this CD:
-
Close Encounters of the Third Kind
Composed by John Williams
Performed by Original Soundtrack
Conducted by John Towner Williams
Product Description
Amazon.co.uk Review
With its vast, star-filled skies and pervading sense of imminence, Steven Spielberg's Close Encounters of the Third Kind (1977) still ranks as one of the director's finest achievements. Longtime Spielberg advocates will remember this enchanting story about a series of UFO appearances that climaxes with a confrontation between man and an alien species. John Williams's music score, in tandem with his work on George Lucas's Star Wars, singlehandedly revived popular interest in symphonic film music in the 1970s. Released concurrently with Spielberg's 1998 "Collector's Edition" edit, this expanded, 77-minute release (from a brand new 20-bit digital master) offers 35 minutes of previously unreleased material, including cues not used in the film. In Close Encounters, Williams discarded the leitmotif approach of Star Wars in favour of a developmental score progressing from pure atonality to a breathtakingly romantic conclusion. In between, the composer offers a myriad of textures, motifs and themes that illuminate Spielberg's visionary magic and childlike spirit. Whether it be several moments of orchestral turbulence, a sprightly eight-note "travel" motif, or the haunting secondary themes, Williams's tone poem is both mysterious and inspiring. When the aliens and mankind finally converge, the composer allows the disparate cultures to communicate through the universal language of music, resulting in one of the most famous instances of "overlapping dialogue" in film history. Spielberg structured the final act of the film to fit the composer's score, a rare case where the editing was dictated by the music. Williams's dramatic submersion is so complete that the finished score stands on its own as a substantial, self-contained symphonic work, one of the finest written in the 1970s. --Kevin Mulhall
With its vast, star-filled skies and pervading sense of imminence, Steven Spielberg's Close Encounters of the Third Kind (1977) still ranks as one of the director's finest achievements. Longtime Spielberg advocates will remember this enchanting story about a series of UFO appearances that climaxes with a confrontation between man and an alien species. John Williams's music score, in tandem with his work on George Lucas's Star Wars, singlehandedly revived popular interest in symphonic film music in the 1970s. Released concurrently with Spielberg's 1998 "Collector's Edition" edit, this expanded, 77-minute release (from a brand new 20-bit digital master) offers 35 minutes of previously unreleased material, including cues not used in the film. In Close Encounters, Williams discarded the leitmotif approach of Star Wars in favour of a developmental score progressing from pure atonality to a breathtakingly romantic conclusion. In between, the composer offers a myriad of textures, motifs and themes that illuminate Spielberg's visionary magic and childlike spirit. Whether it be several moments of orchestral turbulence, a sprightly eight-note "travel" motif, or the haunting secondary themes, Williams's tone poem is both mysterious and inspiring. When the aliens and mankind finally converge, the composer allows the disparate cultures to communicate through the universal language of music, resulting in one of the most famous instances of "overlapping dialogue" in film history. Spielberg structured the final act of the film to fit the composer's score, a rare case where the editing was dictated by the music. Williams's dramatic submersion is so complete that the finished score stands on its own as a substantial, self-contained symphonic work, one of the finest written in the 1970s. --Kevin Mulhall
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