bar 1: 0:00
bar 6: 0:12
bar 9: 0:19
bar 14: 0:26
As far as Poe's theme:
There seems to be a consensus around this being E dorian through m. 56, of which I agree.
Measure 57 (1:26) represents a melodic arrival point - something Williams frequently underscores to great effect with "surprise" chords (whether through modal mixture or modulation).
I believe the C major also kicks off a series of 2 bar sequences through the last part of the theme ending at m. 63 (1:34).
The whole step movement of C - D is repeated up a 4th going F - G (over a C pedal). This movement repeats again up a minor 3rd, going from Ab - Bb, except oops - he substitutes Cm and F in their place. If you don't believe these form a sequence, look at the relationship of the melody in mm. 59-60 and 61-62. It's also very Williams'esque to disguise sequences.
So we end up with a harmonic sequence in mm. 57-60 (disgusied by the pedal tone) passing off to a melodic sequence in mm. 59-62 (disguised by motivic transformation in m. 62).
With that, I think you could possibly argue this whole section is a modulation to C major. The D is borrowed from lydian (a la ET), then a standard IV-V, then a borrowed from minor bVI-bVII (The Duck Tales cadence) that is substituted with i-IV, finally resolving deceptively to Am. I should say, this analysis feels shaky, at best. The point of this phrase, after all, seems to be about a hero's journey into the unknown.