I work at a movie theater. I bet there are some of you who think this job sounds like it could be fun, just as I’m sure there are more realistically quite a few more who would consider it a menial and degrading job meant for high-schoolers (not that there’s anything wrong with that).
Both statements above are true; sometimes you love the magic of movies that surround you while at other times you tire of telling people you can’t find their lost wallet, cellphones, and gold-rim glasses.
There are certainly some benefits to the job, including free movies on days off and unlimited free soda while on the clock.
There are also strange side-effects, like the fact that when you work at a movie theater you smell like popcorn… always. There are side effects of the positive and negative variety, such as the earlier example, which is a little of both.
There is one side effect I enjoy more than any of the others…
Hearing music I love while at work without the aid of an iPod (I can’t believe I originally typed eyepod [no joke]) or other illegal-at-work device!
I’m a movie score junkie. That means I get the same thrill you got when you first heard The Beatles, or P. Diddy, or Justin Beiber, or Third Eye Blind, or 3OH3! or BNL, or whatever when I hear a movie score from films likes SHERLOCK HOLMES, MISSION: IMPOSSIBLE, or anything from the great one: John Williams.
This means for me, it’s like having three of your favorite artists all release CDs within the span of a month which your place of employment plays snippets throughout the day. Because this Christmas saw the release of SHERLOCK HOLMES: A GAME OF SHADOWS, MISSION: IMPOSSIBLE – GHOST PROTOCOL, and two films from Steven Spielberg (a director who has worked exclusively with the composer since before even JAWS), I’m as happy as a clam.
Holmes and Moriarty Discus Their Favorite Board Game
Just because the great one didn’t compose the music for either GAME OF SHADOWS or GHOST PROTOCOL, doesn’t mean these two excellent scores don’t come composers of an excellent pedigree.
Lets start with that GAME OF SHADOWS, the music for which was composed by Hans Zimmer. If you go to the movies in the summer, you’ve surely heard his excellent scores for the original SHERLOCK HOLMES, BATMAN BEGINS, PIRATES OF THE CARIBBEAN, THE DARK KNIGHT, INCEPTION, and M:I:II (That’s MISSION: IMPOSSIBLE 2 for all you normal folk who aren’t fluent in geek), among many others.s don’t also come from composers of a high pedigree.
Then, there’s MISSION: IMPOSSIBLE -GHOST PROTOCOL with hot licks (good music) from Michael Giacchino who wrote the music for 2009′s STAR TREK, UP, SUPER 8, LOST, M:I:III (again, that’s MISSION: IMPOSSIBLE III), and THE INCREDIBLES. If this latest score ain’t a thing of beauty that matches the insane non-stop sprint that is GHOST PROTOCOL’s pace, then I ain’t sitting in my bed, fully clothed and exhausted, writing a blog after work at 3:00 am I morning (and I believe I is doing exactly that, I is!)
This Mission Is Even Impossibler than last time, guys!
Finally, back to Williams who wrote scores for Steven Spielberg’s ADVENTURES OF TINTIN and WAR HORSE, one with a very INDIANA JONES style and the other more akin to SAVING PRIVATE RYAN. You may also know him from his work on JAWS, STAR WARS, JURASSIC PARK, and ET.
Yes, it’s a good time to be working at a movie theater with the sweet sounds of Zimmer, Giacchino, and The Great One drifting out of theaters as I pass. Or bombarding me while I “supervise” a group of high-schoolers clean up popcorn and half-empty soda bottles.
The only theater side effect that compares is hearing an interesting movie trailer while passing an open door and stepping in for a look at THE AVENGERS, DARK KNIGHT RISES, or PROMETHEUS on a giant screen with ear-shattering volume.
Speaking of which, that means there’s new music from Hans Zimmer and Alan Silvestri (CAPTAIN AMERICA: THE FIRST AVENGER, FORREST GUMP, BACK TO THE FUTURE and that terribly… awesome SUPER MARIO BROS. film from the 90s) on the way this summer! Huzzah!