The director wanted a score like what Georges Delerue would write if he were alive. Frederic approached my agent with the Delerue concept and he sent me the film and there was something so refreshing and charming about it; it didn't feel like the normal Hollywood take on this situation, and it was beautifully shot. There was something about the attitude that was really appealing. There was no violence, no one gets killed-no one even gets threatened by another. Kind of like the way we wish the world would be. And that's what filmmaking is all about: we can't control our world, so why not create one?

One of the other things that appealed to me about Kimberly is that I was contracted to provide the film score, so in a sense I own all the music. It really did make me feel more empowered and I don't want to say I wrote any better, but it was different. The film was finished when I looked at it, which was also different, and I had six weeks to write the score. It was very comfortable.

Movie Wave Film Music, November 27, 2000

Basil Poledouris is still best known for his ball-busting action scores like Conan and Robocop, but I think his best scores are the more intimate, "smaller" ones - Kimberly is one of his loveliest. The score is very light and breezy and a mild breeze would sweep it away, but it's absolutely adorable. The slightly light-pop approach to some of the cues irresistibly recalls the scores of the late, great Georges Delerue - and this is a good, good thing.

The main theme, probably Poledouris's catchiest, is quite adorable. It's sprightly and up-tempo, played by solo trumpet. It's later performed on a slightly larger scale during "The Race", a highlight cue. A secondary theme, for acoustic guitar and saxophone, also recurs through the score and, while certainly not as memorable, is just as attractive.

The whole score is an absolute delight, a joy to listen to. Basil Poledouris is one of my favourite composers - when he is writing in this vein, he can do virtually no wrong, and I hope he continues to write like this for a long time to come. He was helped to a larger extent than usual by Eric Colvin, credited as "arranger and conductor" on the album but "additional music" in the film itself.

The film may have disappeared without trace - it was never released theatrically in any major territory (unless you count Indonesia) and didn't even go straight to video in the US, but rather straight to cable. I'd have watched it in a flash to get a glimpse of the rather lovely Gabrielle Anwar in a rare leading rôle, but unfortunately it seems that some viewers are slightly less shallow. But anyway - the score is a real winner. Bravo Basil!