As I’ve said, the main bulk of it is symphony orchestra. And during some sections, in Las Vegas, there’s a dance band. The woman villain has a motif – I wouldn’t say a theme – which is very ominous. Every time something happens with bad news, I used that but in a symphonic way. I used the first part of the theme as kind of ‘Their theme,’ and the second half of the theme of RUSH HOUR 1 is the ‘Bad News’ Theme. But I also used the theme of RUSH HOUR 1 in a different context for instance, the relationship between Chris Tucker and Jackie Chan, despite all the jokes, is more personal, and there’s a human interest story there. With a symphony orchestra, I had more possibilities.ĭid they ask you to take the theme from the last film and make it orchestral, or is there a new theme to RUSH HOUR 2?įor the Main Title, after the quotations of the first film – like James Bond or MISSION: IMPOSSIBLE themes – I did a bit of a quotation of the first film, like a signature, but it lasts only twenty seconds, and then I have about two minutes of Main Title where I come in with another theme. It was a very refreshing idea because I was afraid that he and everybody else, once they found a formula for success, would want to repeat it, and for me that wouldn’t have been fun. As a matter of fact, Brett Ratner had said, “for RUSH HOUR 1 why don’t you write ENTER THE DRAGON for the ‘90s” and now, “why don’t you do a symphonic score?” And I did. So, except for that part at the beginning, I don’t have electric guitars or any of the elements that I had in RUSH HOUR 1. I used an orchestra of almost 100 players. I use the same music at the very beginning – it’s the same as the beginning of RUSH HOUR 1, but it was very short, and then the Main Title goes into a different direction. Soundtrack Magazine spoke with Schifrin just before the films August release to discuss his approach to the new film.ĭoes RUSH HOUR 2 carry over any of the themes from the first film, or is it a completely new score? RUSH HOUR 2 marks Schifrin’s third collaboration with director Brett Ratner, for whom he scored not only the original RUSH HOUR but also 1997s MONEY TALKS. With the advent of RUSH HOUR 2 this summer, Schifrin returns to kung-fu action territory, albeit with a far different approach than the original. Lalo Schifrin’s 1998 score for RUSH HOUR was a nostalgic and fun recapitulation of many elements of one of Schifrin’s most memorable scores – 1973s ENTER THE DRAGON. Text reproduced by kind permission of the editor, Luc Van de Ven and Randall D. Originally published in Soundtrack Magazine Vol.20/No.79, 2001 Thaxton / Transcribed & Edited by Randall D. An Interview with Lalo Schifrin by Ford A.
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