|1.||Main Title (Whale Hunt)||2:05|
|4.||Fighting The Ice||0:28|
|5.||The World Beneath||2:19|
|6.||Fred, Wilma And Bam Bam||1:22|
|10.||Media Frenzy/Will It Work?||2:31|
|11.||A Change Of Heart||1:19|
|12.||Kelly Can't Connect||2:20|
|13.||We’re In Big Trouble Out Here||2:14|
|15.||The Barge Fails||1:20|
|16.||New Breathing Holes||1:18|
|17.||The Russians Make A Bet/Gorby, It’s Ronny||2:24|
|18.||It’s Going To Be Okay||1:12|
|20.||Bam Bam Is Gone/A Prayer||3:52|
|21.||Answering The Call||1:56|
|22.||The Russians Break Through||4:13|
|24.||Where Are They Now||3:08|
Original Motion Picture Soundtrack
Music Composed by Cliff Eidelman
(The Sisterhood Of The Traveling Pants, He's Just Not That Into You)
Inspired by the true story that captured the hearts of people across the world, the rescue adventure Big Miracle tells the amazing tale of a small town news reporter (John Krasinski) and a Greenpeace volunteer (Drew Barrymore) who are joined by rival world superpowers to save a family of majestic gray whales trapped by rapidly forming ice in the Arctic Circle.
Local newsman Adam Carlson (Krasinski) can't wait to escape the northern tip of Alaska for a bigger market. But just when the story of his career breaks, the world comes chasing it, too. With an oil tycoon, heads of state and hungry journalists descending upon the frigid outpost, the one who worries Adam the most is Rachel Kramer (Barrymore). Not only is she an outspoken environmentalist, she's also his ex-girlfriend.
With time running out, Rachel and Adam must rally an unlikely coalition of Inuit natives, oil companies and Russian and American military to set aside their differences and free the whales. As the world's attention turns to the top of the globe, saving these endangered animals becomes a shared cause for nations entrenched against one another and leads to a momentary thaw in the Cold War.
Composer Cliff Eidelman — veteran of such classic franchises as Star Trek and Free Willy, along with The Sisterhood of the Traveling Pants - returns here with a sweeping and lush symphonic score capturing the drama and emotion of this miraculous story.
A Note From The Director
In the fall of 1988, three gray whales were discovered trapped off the north coast of Alaska, in the frozen Arctic Ocean. There was a small hole enabling them to breathe. Between that hole and open water, however, lay five miles of solid ice. Big Miracle tells the story of the rescue of the whales, a monumental task undertaken by an unusual coalition of whale hunters and whale lovers.
Big Miracle is my fifth collaboration with Cliff Eidelman. We’ve explored romantic-themed stories (He’s Just Not That Into You, The Beautician And The Beast), social satire (Sexual Life), and coming-of-age drama (Sisterhood Of The Traveling Pants). Big Miracle took us into completely uncharted territory. It was as daunting to score as the Arctic was to film.
The story has great geographic as well as emotional sweep. The variety of musical material in Big Miracle is simply staggering. Cliff summons a large orchestral force to depict the majesty of the whales as well as their tragic predicament. He uses a broad brush to show the breadth the Arctic and force us to feel its numbing cold. He employs powerful indigenous percussion to paint a picture of the Inupiat people who occupy the northern slope of upper Alaska. He evokes Slavic musical tradition to portray the Soviet sailors who deliver a massive icebreaker to help free the whales. Cliff creates an agitated, babbling leitmotif to characterize the media circus that descended upon the trapped whales. If that isn’t a tall enough order for one score, there are also nine main characters in Big Miracle, each of whom comes to the rescue with their own agenda, all of whom are transformed by their contact with the whales. Among the nine is the young Inupiat boy Nathan, who cares little for the whales or for his tribal traditions. Cliff imbues his coming-of-age with honest emotion and dignity. In short, Cliff’s score achieves the improbable feat of being both epic and intimate, of giving us an entire world while being just as true to one human heart.
First and last, Big Miracle is a story about three animals. Finding a musical treatment for non-human creatures has its own special dangers, all of which Cliff deftly avoids. He manages to personalize the plight of three marine mammals without ever anthropomorphizing them. Another composer might’ve gone the sentimental route, making us “ooh” and “ahh” over the whales, as if they were pets. Cliff endows the whales with an intelligence that is rightly theirs. He raises their dilemma to an existential level that encompasses us all. — Ken Kwapis
Cliff Eidelman would like to thank Ken Kwapis, Cara Silverman, Nick Angel and Claire Benoit Eidelman.
Thanks to all the great musicians of Los Angeles who performed on this score and to the superb crew at Eastwood Scoring Stage.
Thanks: Ken Kwapis, Tim Bevan, Eric Fellner, Steve Golin, Michael Sugar, Liza Chasin, Debra Hayward, Stuart Besser, Paul Green, Nick Angel, Angela Morrison, Michelle Wright, Sheeraz Shah, Sarah-Jane Robinson, Emily MacKintosh, Christina Angeloudes, Charlotte Saint, Vicki Williams,
Graham Stumpf, Marc Becker, Philip M. Cohen, Bette Einbinder, Amie Hill, Lauren Martin, Eric Polin,
Jason Schlouch, Angie Sharma, Cendy Younan