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Mr. Baseball - Jerry Goldsmith
Forrest Gump - Alan Silvestri
Disorganized Crime - David Newman
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Was just listening to Carter Burwell's wonderful Conspiracy Theory this week - brilliant jazzy somewhat-Americana enthused themes that don't seem to be a regular feature for him.
Conspiracy Theory is filled with Burwell-isms, from start to finish it's very clear that he composed it.
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Posted: |
Oct 21, 2016 - 4:37 PM
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By: |
joan hue
(Member)
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I think this topic is very interesting, and I hope it keeps going. There have got to be more examples.
I’m going to go back to a Golden Age composer, Dimitri Tiomkin. I know he can compose very dissonant scores, but I feel that he is most well-known for his famous, thematic film scores.
I first noticed him in DUEL IN THE SUN with its rousing main theme, and that was soon followed by GIANT. THE HIGH AND THE MIGHTY is stunningly gorgeous as is FRIENDLY PERSUASION. I like his themes in other movies like THE ALAMO, GUNFIGHT AT THE O.K. CORRAL, and THE WAR WAGON.
What seems to me so very opposite and different from his thematic scores is THE THING FROM THE OTHER WORLD. It is dissonant, very creepy and not music that I can listen to on its own.
Dana, you were spot on with Fielding's ADVISE AND CONSENT. It is so much more melodic than his later scores.
Next?
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Miklos Rozsa's CRISIS: all solo guitar, the whole thing.
Herrmann's THE BIRDS: closer to what we'd now call sound engineering.
Tiomkin's HIGH NOON, if only because of tv ongoing variations with the song, a novel approach at the time, which he later used in other scores, but HIGH NOON was a real standout at the time.
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John Barry's The Living Daylights I would imagine falls heavily into this category. What do you guys think?
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