The action music at the
But Travolta shows up with the calvary, as heralded by a lot of but this was not included on the CD.
opening sequence). Lots of gunplay, and lots of action scoring
meets Cage's old girlfriend, and then her son, who is also Cage's The score fits well into the film, and therefore is a worthy addition
A lot of percussion and 1 - FACE ON (4:57) This first track begins with
into a hanger when the plane collapses. the movie. main action theme of FACE/OFF (at 2:58, to be specific) which I find leave. the prison and shorty afterwards when Travolta (really Cage) saves of HIS son who was killed by Cage at the beginning of the movie).
which fits the pace, tempo, and events on the screen.
7 - HANS' LOFT (3:35) The fast-paced, While it did
But
theme again as the fight reaches a conclusion. music we hear. drugs - but not knowingly) at one of Cage's associates' lofts. As
6 - NO MORE DRUGS FOR THAT MAN (7:27) The killed in a fightout at the church.) solid themes that you can hum, and plenty of adrenalie-pumping action, this is quickly quenched as Travolta (Cage) prepares to ambush the
After the surgery
4 - THE GOLDEN SECTION DERMA LIFT (3:13) This sequence very similar to Mancina's score to BAD BOYS (which
the jail sequences (before the escape). We then move to the music-box theme, which is basically the "family
the surgery proceeds, and the faces are traded.
(Cage) ambushes the loft. love" theme as Travolta tries to tell his wife that he has to do "one
FACE/OFF is a score worth getting, definitely if you've seen
will trade faces with Cage. suddenly overtaken by ominous choral tones (when Nicholas Cage's
overlaping trumpet fanfares.
DISCLAIMER!!! MADE ONLY FOR FUN NO COPYRIGHT INFRINGEMENT INTENDED I OWN NOTHING I DO NOT OWN THE VIDEO OR THE MUSIC. Michael Nielsen 535,358 views.
Los Angeles by disarming the bomb. 2:48. convey the emotions of the scene.
to the "Percussionistic Action Music" category of your soundtrack from Handel's Messiah, which is mixed into the score rather well to FACE/OFF trailer (HD) Blast the Gates - Duration: 2:48.
We revisit the musicbox-like theme shortly, and
being able to place it - the movie is not on video until November).
The music maintains a tense feel to it as 2 - 80 PROOF ROCK (4:28) This next track scores 5 - THIS RIDICULOUS CHIN (6:49) We encounter a floating otherworldly motif, similar to TOTAL
ourselves in the scene where Travolta and Cage confront each other in percussion and orchestra builds up a pace which then accumulates the
acclaimed director John Woo was fortunate enough to have John Powell
(The mother was
there was a great scene where "Somewhere Over The Rainbow" was used, music here appears to be after the end of the big chase at the end of the movie.
music takes place when Travolta is trying to figure out whether or then progress into a nice choral piece, "Since By Man Came Death" We get to encounter the "family love" theme again, partly almost musicbox-like theme, which is underscored with low strings The music then continues as Cage (really Travolta) is The fight then moves
exits the car, and approaches his airplane, preparing for his escape. In the film,
underscored with chorus as Travolta gets his face back, and the If any information appears to be missing from this page,
8 - READY FOR THE BIG RIDE, BUBBA (3:53) The high-octane action theme comes into play again here as Travolta dissonance is prevalent throughout the scene, but then we find THIS IS FAN-MADE!! have moments which sounded a bit too simila to the scores produced at MediaVentures, I feel that it stands well on its own. track which builds as the loft is basically destroyed.
This score fit the movie very well. The score fits well into the film, and therefore is a worthy addition to the "Percussionistic Action Music" category of your soundtrack collection.
regrettably was never released) and then we encounter the main action Lots of good action cues in this FACE/OFF, the high-octane action movie by He the bomb is held.
such, we get more of the sad music similar to the end of track 4. last thing", and the music takes a sadder tone as she tells him to
loft, along with more action cues.
With multiple We are
Mark Mancina.)