Return to Never Land (2002)

And with pictures there must be sound. Composer Joel McNeely was hired to craft a score that would at times pay homage to the original film, yet more importantly, give "Return to Never Land" a musical identity of its own.

"The movie needed a timeless, emotional score, that could also contain fun and exhilaration for the comedy and action," says Matt Walker, senior vice president of music, Walt Disney Television Animation. "It's really a composer's dream come true. I'd worked with Joel McNeely a long time ago on 'Iron Will,' and he blew me away with his mastery of orchestral styles. I felt he'd be the right choice for this project."

McNeely began the process by watching a rough cut of the film with the director, producers and TV animation executives, then the group discussed where the music would best fit. The discussions ranged from the style of music, the emotions that needed to be conveyed, and the thematic necessities of the picture. Then McNeely engaged in his own writing regimen — which involves 12-hour days, seven days a week. Eight weeks later, McNeely emerged with the dynamic, touching "Return to Never Land" score. The score was recorded by a 90-piece orchestra at world renowned Abbey Road Studios in London.

"What I love about Joel's score is that he is true to the original property — he listened closely and captured the spirit of their intention — but the music is all original except for a couple of things we wanted to keep from the first film," Budd says. "He perfectly captured Jane's feelings throughout the score. Joel wrote this little riff in the melody that is usable in different moods and conveys Jane's every emotion. I really am impressed."

McNeely set about creating themes for each character, preserving and enhancing those already set forth in the original film. Peter Pan continued his melodic motif, while Tinker Bell's maintained her quick piece of flitting music. However, McNeely conjured a variety of themes that ranged from a "main theme" that echoes that of flight to a "home theme" designed for the film's quieter, reflective moments.

"Joel so absolutely understood the essence of the movie," Morrill says. "What we call his 'home theme' and 'flying theme' are right on target. The home theme really says heart, and the flying theme is filled with the magic of the imagination. He made the film feel big in scope, but also allowed the intimate moments to stay intimate. It's just the right amount of magic and sparkle."

The octopus got a complex blend of song — mixing comedy and grand pretentiousness with an over-the-top, menacing-yet-goofy theme. Captain Hook also received the scary/silly musical treatment, generally utilizing a tuba for enhanced effect.

McNeely paid tribute to film composer Erich Wolfgang Korngold's legendary swashbuckling compositions with his "action themes.

"It's more about the craft and style of the orchestration, and the level of detail in the score," McNeely explains. "The scores by the great composers of the earlier part of the century were done by classically-trained composers, so they had a high degree of compositional detail. The scores were classically orchestrated, and made use of counterpoints and other classic western European techniques."

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