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 Posted:   May 30, 2016 - 2:02 PM   
 By:   lacoq   (Member)

Richard Rodney Bennett thought that Michel Legrand's score for The Thomas Crown Affair was "genius".
Any other examples?

 
 
 Posted:   May 30, 2016 - 2:25 PM   
 By:   Milan NS   (Member)

http://www.gramophone.co.uk/feature/ennio-morricone-my-inspiration-by-hans-zimmer

 
 
 Posted:   May 30, 2016 - 2:38 PM   
 By:   BrendonKelly   (Member)

James Horner praised To Kill A Mocking Bird by Elmer Bernstein and The Killing Fields by Mike Oldfield in an interview in the 80s. Last year he sited Morricone 's The Mission as his favourite.

 
 
 Posted:   May 30, 2016 - 2:45 PM   
 By:   ddddeeee   (Member)

Desplat loves Elfman's scores for Milk and Alice in Wonderland.
James Newton Howard thought Sleepy Hollow was so good that it gave him a bit of a kick to do better.
Giacchino loves Corpse Bride.
Philip Glass is a fan of Charlie and the Chocolate Factory.

Elfman loves Desplat's score for Birth and The Hours by Philip Glass.

Howard Shore loved Desplat's Godzilla score.

 
 
 Posted:   May 30, 2016 - 2:49 PM   
 By:   filmusicnow   (Member)

Richard Rodney Bennett thought that Michel Legrand's score for The Thomas Crown Affair was "genius".
Any other examples?


Bennett at first started praising Legrand's work but suddenly lost interest in him (according to his F.S.M. interview).

 
 Posted:   May 30, 2016 - 2:57 PM   
 By:   RoryR   (Member)

I think Goldsmith's PLANET OF THE APES has been praised by other composers. I don't recall which off the top of my head, but I'll bet many of them are currently decomposing.

 
 
 Posted:   May 30, 2016 - 3:00 PM   
 By:   connorb93   (Member)

John Ottman is a huge fan of James Horner - recently cited BRAINSTORM as an example of his talents

Thomas Newman likes Jerry Goldsmith, particularly CHINATOWN

Jerry Goldsmith was a big fan of the works of his friend Alex North (even conducted a few re-recordings)

Danny Elfman thinks THE SILENCE OF THE LAMBS is one of Howard Shore's best

Leonard Rosenman was a huuuge fan of Poledouris' ROBOCOP








(ok maybe not the last one)

 
 
 Posted:   May 30, 2016 - 3:58 PM   
 By:   lacoq   (Member)

Richard Rodney Bennett thought that Michel Legrand's score for The Thomas Crown Affair was "genius".
Any other examples?


Bennett at first started praising Legrand's work but suddenly lost interest in him (according to his F.S.M. interview).[/endquote

True enough, but even in his last years RRB was still expressing great admiration for Legrand's earlier work.

 
 
 Posted:   May 30, 2016 - 4:51 PM   
 By:   Timmer   (Member)

James Horner praised To Kill A Mocking Bird by Elmer Bernstein and The Killing Fields by Mike Oldfield in an interview in the 80s. Last year he sited Morricone 's The Mission as his favourite.

Mario Nascimbene also expressed his admiration for Oldfield's The Killing Fields in an issue of Soundtrack Collectors Quarterly.

 
 
 Posted:   May 30, 2016 - 5:07 PM   
 By:   Rozsaphile   (Member)

Miklos Rozsa described TO KILL A MOCKINGBIRD as "absolutely brilliant."

 
 
 Posted:   May 30, 2016 - 5:57 PM   
 By:   Washu   (Member)

Howard Shore said that he was "a big fan" of the Poledouris Conan score.

 
 
 Posted:   May 30, 2016 - 6:09 PM   
 By:   TacktheCobbler   (Member)

Bernard Herrmann called Waxman's Taras Bulba "the score of a lifetime."

 
 Posted:   May 30, 2016 - 6:26 PM   
 By:   Justin Boggan   (Member)

For an overall praise, Richard Kraft's recent long post on John Barry, had this:

I had once posed the question to composing giant Jerry Goldsmith: If he were a film director, whom he would hire (other than himself) to score his films. Without pause he offered the name, “John Barry.”

Goldsmith, perhaps the most compositionally complex composer for film, he of the never-settling time signature and unexpected and unsettling harmonics, suggested a composer noted for his straight and seemingly simply melodies. I had to inquire why. “No one nails a film with a theme better than Barry,” he said.

And from some of my interviews with composers:
David Bell:

What are some of your favorite scores by other composers? Likewise favorite composers.

I'm going to combine this and next question .

First would be "Silverado" composed by Bruce Broughton. The composing, orchestration and dramatic sense in a film score do not get any better than this. It is fantastic writing, one of the best scores in film history in my opinion! I also like Bruce's score for "The Rescuers Down Under". Brilliant writing aside, Bruce is also one of my favorite composers because of his involvement in the film and composer communities. He is always generous with his time and effort.

Next would be Thomas Newman. His writing is innovative, sensitive, dramatically spot-on and highly crafted. I think "Little Women" is one of the great, smart scores of our generation.

My mentor, John Addison, wrote some terrific scores that are often overlooked. His scores for "A Bridge Too Far" and "Tom Jones" are brilliant. In "Tom Jones" he used a small ensemble of quirky instrumental choices (some of which were not invented in the 18th century) and for him to have accomplished what he did with such a small ensemble requires high craft.

Carter Burwell, Mark Isham also great talents, I think. And then, of course, Jerry Goldsmith and John Williams.

Jay Chattaway:

What are some of your favorite film scores, and do you actively listen to scores?

Favorite film scores include anything by Morricone; "The Mission" which was incredibly brilliant in the use of both sacred and secular music.

 
 
 Posted:   May 30, 2016 - 11:46 PM   
 By:   Devmo   (Member)

Desplat loves Elfman's scores for Milk and Alice in Wonderland.
James Newton Howard thought Sleepy Hollow was so good that it gave him a bit of a kick to do better.
Giacchino loves Corpse Bride.
Philip Glass is a fan of Charlie and the Chocolate Factory.

Elfman loves Desplat's score for Birth and The Hours by Philip Glass.

Howard Shore loved Desplat's Godzilla score.


That's interesting because I read an interview where Michael Nyman mentioned Elfman's Charlie as his favorite of that year. Something about it must appeal to the minimalists.

 
 Posted:   May 31, 2016 - 1:24 AM   
 By:   Ratatouille   (Member)

In an old interview in the magazine SOUNDTRACKS ! Jerry Goldsmith said that he loves the composition of David Newman !

 
 
 Posted:   May 31, 2016 - 3:02 AM   
 By:   trstnvnk   (Member)

I think it was in an interview with soundtrack.net where Hans Zimmer praised Howard Shore's The Cell.

If I remember correctly he said something akin to how he wished Jerry Bruckheimer would use it in a trailer so people would notice that score (similar to how "Journey to the Line" became popular after being used in the Pearl Harbor trailer)

And Terence Blanchard listed Glory, The Shawshank Redemption, Traffic, Man on Fire, and the first Chronicles of Narnia as his five favorite scores

 
 
 Posted:   May 31, 2016 - 3:06 AM   
 By:   ddddeeee   (Member)

Desplat loves Elfman's scores for Milk and Alice in Wonderland.
James Newton Howard thought Sleepy Hollow was so good that it gave him a bit of a kick to do better.
Giacchino loves Corpse Bride.
Philip Glass is a fan of Charlie and the Chocolate Factory.

Elfman loves Desplat's score for Birth and The Hours by Philip Glass.

Howard Shore loved Desplat's Godzilla score.


That's interesting because I read an interview where Michael Nyman mentioned Elfman's Charlie as his favorite of that year. Something about it must appeal to the minimalists.


Nyman also mentioned liking Fifty Shades of Grey.

 
 Posted:   May 31, 2016 - 4:12 AM   
 By:   Amer Zahid   (Member)

I remember reading Goldsmith highly praising Jhn Williams on SCHINDLER'S LIST. Randy Newman praised John Williams' INDIANA JONES AND THE LAST CRUSADE's Young Indy's First Adventure cue in an FSM issue.

 
 Posted:   May 31, 2016 - 4:53 AM   
 By:   SBD   (Member)

According to "Torn Music", Hans Zimmer expressed fondness for Randy Newman's unused AIR FORCE ONE score.

 
 
 Posted:   May 31, 2016 - 5:30 AM   
 By:   ian642002   (Member)

Laurence Rosenthal once gave Jerry Goldsmith's Mephisto Waltz score big kudos, more so because he was listening from next door as Goldsmith wrote and played most of it before it was recorded.

Herrmann's entering the scoring stage to tell Goldsmith that his music for Lonely Are The Brave was 'too good for the picture'.

 
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