Yesterday IGN (among other outlets) posted an article regarding progress on the third installment in Disney's National Treasure franchise, though the details are rather vague at the moment. So in honor of that news, which can be read here:
https://www.ign.com/articles/national-treasure-3-in-development-at-disney-writer-attached
I thought I would post my next "favorite themes" entry which examines one of the pieces from Book of Secrets. It reflects information reported last year regarding the status of another film, and I'm going to leave that part as is since we have a new update.
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I get asked various things regarding Trevor and I would state, if asked, that the three scores Trevor is most known for are the following:
Armageddon
Remember the Titans
National Treasure
...and all three of those movies possess scores which are memorable and thrilling for certain, and in different ways. The potential popularity and visibility of a movie shouldn't necessarily have any bearing on the skill involved in composition, but it does seem like Trevor brought a little extra-special something to these big movies, and so in support of this assertion, my second installment in this series is a theme from National Treasure: Book of Secrets, the sequel in the only would-be franchise Trevor was involved with. I say "would-be" since it only consists of two films, and it is not definitely known if there will ever be a third movie continuing the adventures of Benjamin Gates; although once again Disney chairman/CEO Bob Iger brought up the possibility at the company's annual shareholders' meeting.
"So!" is a relatively short theme (1:46), but it is so upbeat and catchy, it immediately makes me happy to hear it. As well I swear I can hear elements of "Prague" from Bad Company which is one of my very favorites of Trevor's beautiful themes - just a particular chord sequence which reminds me of that one. I've always thought that the first 37 seconds of "So!" would make a great theme for a television program, succinct and yet well-developed. It then takes a turn for the reflective, continuing on with the same motif but at a more stately pace. It then concludes with a big orchestral flourish, and is, to my mind, one of the best examples of what Trevor can accomplish with a shorter theme.
