101 Dalmatians Trailer Music (1996) THEATRICAL TRAILER 'Escape' - Non-Stop Music TV SPOTS 'Bad to the Bone' - George Thorogood and the Destroyers VIDEO TRAILER 'Exit' - Non-Stop Music Is this information correct or complete? Find album reviews, stream songs, credits and award information for 101 Dalmatians [Original Soundtrack] - Disney on AllMusic - 1961 - George Bruns' score for the 1961 animated classic Find album reviews, stream songs, credits and award information for 101 Dalmatians [Original Soundtrack] - Disney on AllMusic - 1961 - George Bruns' score for.
The song is used in the trailer from the live-action 101 Dalmatians movie, as well as a promo for Cartoon Network's Cartoon Theater. I've always loved this song, but I cannot for the life of me find out where it originated. Watch 101 Dalmatians online at CafeMovie. 101 Dalmatians 1996 free streaming. After a wild chase in the bustling streets of London, the struggling computer game author, Roger, and his male Dalmatian pet, Pongo--by a welcome twist of fate--are dragged into St. James Park and meet with the charming fashion designer, Anita, and her female Dalmatian companion, Perdita.
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Trailer Music
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The following list is a list of the music used in some trailers for motion pictures, based on the orignal trailer list developed by IMDb's Michel Hafner. You can help completing this list by mailing additions to [email protected].
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- THEATRICAL TRAILER : the official theatrical piece, usually cut from the first (very long) cut of the picture or sometimes (if there is no first cut yet) from dailies (all the shot footage, including all the different takes and angles), maximum length of a trailer is two and a half minutes.
- TEASER TRAILER : A first, short theatrical preview piece (usually not longer than a minute and a half), cut from a few selected takes and scenes while the picture is still being shot.
- TV SPOTS : Are 15, 30 and (for a few very 'big-budgeted' projects usually for a special event such as the Super Bowl) 60 seconds in length. They usually don't have much to do with the theatrical trailer and are produced completely seperate from the theatrical campaign. They are very 'focus group specific' and, in most cases, uses music different from the theatrical trailer.
- INTERNATIONAL RELEASE : Sometimes trailers are altered for a specific locality or because of rights issues in a certain region, those special cases appear under this category.
https://intensiveabout.weebly.com/drum-midi-files-reggae-music.html. - RE-ISSUE : Music that has appeared on re-issues of certain features when re-released theatrically
- HOME VIDEO TRAILER: A seperately produced trailer used to advertise new home video releases or movies coming soon or in theaters right now. They are produced by the home video departments the studios and usually have a much smaller budget than the theatrical trailers.
- DVD TRAILER : These trailers are usually the same as the regular theatrical trailer, but because of the deluxe format of DVD, may actually contain alternate and rejected trailers for any specific promotional campaign. Sometimes TV spots are included and fall under the same circumstances.
- INTERNET TRAILER : These trailers are usually created exclusively for the internet, and might contain music not used in the theatrical release versions.
- OTHER : For some reason some of these bits of music appear on an odd bit of film, and are so categorized
101 Dalmatians 1996 Full Movie
The phrase 'live action Disney comedy' is enough to strike fear into the souls of most movie goers; the record is not good (although the recent animation roll call has been decidedly ropey), but this live action remake of the animated 'classic' 101 Dalmatians did good business, despite some pretty flimsy story telling. It certainly didn't harm the production that it's naturally flooded with puppies and Glenn Close doing a wonderful pantomime Cruella De Vil. Michael Kamen didn't score many family films, but his inherently good natured style seems ideally suited and unsurprisingly 101 Dalmatians is a charming and occasionally whimsical effort. It is somewhat ironic that many listeners and reviewers claim the score lacked themes, but maybe the problem was that it contains too many short motifs and no big theme to tie them all together, but for my money, this doesn't hurt the score's general conception at all.
The album gets off to a vocal start with the song Cruella De Vil from the original animation, performed with relish by Doctor John. Kamen works this melody into his score on a couple of occasions and probably could have got a little more mileage out of it as it's easily identified with the villain and memorable to boot. Kamen's score proper gets off to a sprightly and delightful start with the brisk Main Titles which leads into the lightly comedic opening dog walking scene that sets up the love story between the lead humans and, more importantly, the leading canines. Cruella's Catwalk introduces some menace, but this is easily usurped by Kamen's lilting love theme that manages to be sweet without becoming cloying. The Heist changes the tone of the score as the puppies are pinched and the proper adventure begins. Kamen's action music is detailed and exciting and cues such as Rescue and Kipper Finds the Puppies are great fun, but all edged with enough danger to give the music some real dramatic weight.
Music students with an interest in film music are often drawn towards analysing the great leit motif scores, but I don't suppose they would ever consider 101 Dalmatians, but the liner notes give some clue as to the level of detail Kamen attempts. A list of the instruments and the characters to which they are assigned is given and while I must admit that I can't honestly pick them all out, it's fun trying. Even though the number of motifs is perhaps a little high (thirteen named) for them all to be memorable, enough of them are memorable and deployed effectively to tell the story in music. There is an element of micky mousing on occasion, but the level of chaos never becomes unmusical and usually resolves into simply being playful and inventive, ideal qualities in any fun adventure score. Anyone expecting a James Horner style family score with a couple of big themes is likely to be a touch disappointed, there is a lot more going on than that, however as with most Kamen scores, a couple of careful listens will reap plenty of rewards.
The album gets off to a vocal start with the song Cruella De Vil from the original animation, performed with relish by Doctor John. Kamen works this melody into his score on a couple of occasions and probably could have got a little more mileage out of it as it's easily identified with the villain and memorable to boot. Kamen's score proper gets off to a sprightly and delightful start with the brisk Main Titles which leads into the lightly comedic opening dog walking scene that sets up the love story between the lead humans and, more importantly, the leading canines. Cruella's Catwalk introduces some menace, but this is easily usurped by Kamen's lilting love theme that manages to be sweet without becoming cloying. The Heist changes the tone of the score as the puppies are pinched and the proper adventure begins. Kamen's action music is detailed and exciting and cues such as Rescue and Kipper Finds the Puppies are great fun, but all edged with enough danger to give the music some real dramatic weight.
Music students with an interest in film music are often drawn towards analysing the great leit motif scores, but I don't suppose they would ever consider 101 Dalmatians, but the liner notes give some clue as to the level of detail Kamen attempts. A list of the instruments and the characters to which they are assigned is given and while I must admit that I can't honestly pick them all out, it's fun trying. Even though the number of motifs is perhaps a little high (thirteen named) for them all to be memorable, enough of them are memorable and deployed effectively to tell the story in music. There is an element of micky mousing on occasion, but the level of chaos never becomes unmusical and usually resolves into simply being playful and inventive, ideal qualities in any fun adventure score. Anyone expecting a James Horner style family score with a couple of big themes is likely to be a touch disappointed, there is a lot more going on than that, however as with most Kamen scores, a couple of careful listens will reap plenty of rewards.