...StarShip Troopers, which I think of as one of the most perfect scores ever written -- it serves the double or rather triple layers in the film so darn well.
Exactly! I remain in awe of what a perfect score Poledouris wrote for a film as tricky as Starship Troopers. Too heavy on the satire or too heavy on the gravitas and the music might have made a farce of what Starship Troopers was aiming to be. Somehow, Poledouris managed to strike just the perfect note.
And yet I still wonder what Goldsmith would have done with Starship Troopers
A more interesting question is, do such collaborations help or hinder creativity?
People get typecast.... which negates their versatility.
Also, obviously a director may have a good working relationship with a particular artist, BUT does that preclude the chances of other, newer composers getting a chance? It's a question.
The director who uses the same composer in many projects is singing the song of verstility, admitting that one composer can do many things. So far so good, a blow against typecasting. But on the other hand, such a director does limit the chances on any one project, maybe typecasting himSELF. .
I'm going to say Rozsa and Wilder just because no-one else has. I'm not entirely convinced it's an artistic decision nowadays.
Although, as this post indicates, there have been a lot of great director/composer collaborations, it seems to me no composer has ever been more essential to musically completing a director's worldview than Nino Rota for Fellini. When people recall Fellini's films, or use the term Fellini-esque to describe someone else's work, they're not just thinking of his incredible images but also the sound of the films and Rota's perfect blend of jazz and circus music that so expertly complements those visuals.
And as long as I'm posting in this thread, how many director-composer collaborations extended beyond films? I know Mancini and Edwards worked together in television and Williams scored some episodes of Amazing Stories. And, of course, perhaps most famously Bernard Herrmann and Orson Welles collaborated on radio before going into films.
Ouch, that's a tough one, Thomas. Morricone collabs are tops with me but he has so many - and how many scores are required to constitute a collab?
It's impossible to imagine any Leone or Tornatore without Ennio. There is such a meeting of minds there in both cases.
If I had to choose just one and one only, the Leone's would just pip it. If Leone had lived we probably would have had maybe another 4/5 classics.
I agree with what you say about the relationship with Leone and it's a great shame we didn't get even another one or two films and scores. Good to see some more appreciation for the Tornatore collaboration. I chose that as my personal favourite as I adore his films, he's probably my favourite filmmaker and the music adds so much to them. My favourite score of the last 10 years or so is 'BAARIA' and I love the film as well, despite some faults with it. Also worth checking out is last year's 'La Migliore Offerta' (The Best Offer), another fine film from Tornatore and a really good score.
Tornatore/Morricone for me as well! Thomas, have you heard Ennio´s music for Gli occhiali d´oro? Since you like his music for Tornatore and also is a fan of John Barry I believe it´s music you should like. http://www.youtube.com/watch?v=6V4jRuu19V0
And as long as I'm posting in this thread, how many director-composer collaborations extended beyond films? I know Mancini and Edwards worked together in television and Williams scored some episodes of Amazing Stories.
Goldsmith and Schaffner first worked together in TV, and where Robert Zemeckis went in television Alan Silvestri usually followed, viz. Amazing Stories (which also had Goldsmith/Dante and Niehaus/Eastwood teamups) and Tales From The Crypt (which also had one of the various Ry Cooder/Walter Hill collabs).
I remember reading an interview with John Frankenheimer in the old MediaScene Prevue magazine about The Challenge and he joked that he and Goldsmith had worked so often together in TV, that for this film he didn't say anything to him, they just looked at each other.
Another worthy collaboration is that between Rolfe Kent and Alexander Payne - notably About Schmidt, but stemming from TV work into films. I understand that Payne sometimes directs scenes around the music.