Alan Silvestri on using Cubase and Dorico to score "Avengers: Endgame"

By Daniel Spreadbury

Alan Silvestri is the composer of some of the most memorable film soundtracks of the last three decades, from his incredibly fruitful collaboration with director Robert Zemeckis that began with Romancing the Stone, to his recent work with Steven Spielberg on Ready Player One, and dozens more besides. Now his work across four films with Marvel Studios culminates in the release of what will surely vie for the title of biggest blockbuster of 2019, Avengers: Endgame, which is in cinemas worldwide now.

Landmark score after landmark score

Silvestri has always been an early adopter of technology, from his very first film score, Romancing the Stone (1984), which was among the first Hollywood scores to use Yamaha's iconic DX-7 and which required the use of two 24-track desks chained together to record the full ensemble. That first collaboration with Robert Zemeckis was followed by his first full orchestral film soundtrack, Back to the Future (1985), with its memorable and instantly recognisable main theme, and which heralded the arrival of an assured composer whose work in the years since has put him in the company of the greats, including John Williams, Jerry Goldsmith, James Horner, and others.

He has written landmark score after landmark score, from dramas like Forrest Gump and Castaway, by way of science fiction with Contact and Ready Player One, family films like The Polar Express and the Night at the Museum series, to action blockbusters like the G.I. Joe series, The Predator, and more besides. His long career is testament to his versatility, and he shows no signs of slowing down.

Avengers: Endgame is Silvestri's fourth score for a film in the Marvel Cinematic Universe, and the themes he has created for Captain America in Captain America: The First Avenger (2011) and for the Avengers in three of their four films – The Avengers (2012), Avengers: Infinity War (2018) and Avengers: Endgame – have become indelibly associated with the characters, to the point where even a half-statement of The Avengers theme at the conclusion of the most recent film in the franchise, Captain Marvel, scored by Pinar Toprak, can raise a cheer from a film audience.