Danny Elfman - Charlie and the Chocolate Factory Philip Glass - Mishima James Newton Howard - Peter Pan John Powell - How to Train Your Dragon Marco Beltrami - In the Electric Mist Christopher Young - Drag Me to Hell Hans Zimmer - Hannibal Carter Burwell - Being John Malkovich Alexandre Desplat - the Ghost Writer Rolfe Kent - About Schmidt
If the answer isn't there, that's fine. But don't blame the question.
LOL! You are confusing me. But the question clearly defines the boundaries. Hence, I cannot choose 2 scores from the same composer like you did. I chose 1 score from a respective composer. For example, another of my top favorites is Star Wars V - The Empire Strikes Back but I just happen to like E.T. more. So I couldn't put that in this top 10 list.
John Williams - ET Miklos Rozsa - El Cid Basil Poledouris - Conan The Barbarian James Horner - Legends of the Fall Jerry Goldsmith - Rudy John Debney - Cutthroat Island Alan Silvestri - Back To The Future II (cause there wasnt a real album for the first one) Erich Wolfgang Korngold - Sea Hawk Bruce Broughton - Silverado David Newman - Jingle All The Way
But the question clearly defines the boundaries. Hence, I cannot choose 2 scores from the same composer like you did.
But I gave them a real recommendation. How can they become more of a fan hearing "second-rate stuff" from my personal opinion? Honest question? I don't think too many people would listen to "Empire" OR "E.T." and come away with the opinion that "filmmusic sucks!" Robocop 2 maybe
Miklos Rozsa - Ben Hur (score and the Decca rerecording) John Williams - Superman the movie (score and album) John Barry - The last valley (album) Jerry Goldsmith - Under fire (album not score) Alan Silvestri - Back to the future (score) James Horner - Braveheart (album) Elmer Bernstein - The magnificent seven (score and album) James Newton Howard - Wyatt Earp (score and album) Michael Kamen - Robin hood, prince of thieves (score not album) Basil Poledouris - Conan the barbarian (score and album)
The hardest part is limiting it to ten composers; but in alphabetical order by composer:
John Barry: YOU ONLY LIVE TWICE (a sexy ice cream sundae that always lifts my spirits) Elmer Bernstein: THE GREAT ESCAPE (muscular and dynamic, gentle and poetic) Georges Delerue: JULES ET JIM (Delerue's charm, exuberance and love of life in a bottle) Jerry Goldsmith: CHINATOWN (sublime power in its brevity) Bernard Herrmann: FAHRENHEIT 451 (a beacon of the pagan and poetic) James Newton Howard: SIGNS (JNH+MNS at their most dynamic and rapturous) Erich Korngold: THE SEA WOLF (a glorious, superb adventure) Al Newman: HOW THE WEST WAS WON (bucolic, rollicking Cinemascope masterpiece) Miklos Rozsa: EL CID (a masterpiece of beautiful and powerful thematic writing) John Williams: JAWS (started it all for me, my favorite filmmaker pairing, still the perfect score)
I could easily substitute one or two of the above for a couple dozen other composers that I consider favorites, but I've trimmed this to abide by the rules. Nice one, Thor.
MORRICONE - The Good The Bad and The Ugly GOLDSMITH - Patton GOODWIN - Where Eagles Dare FIELDING - The Wild Bunch NORTH - Spartacus HERRMANN - Jason and The Argonauts JARRE - Lawrence of Arabia ROSZA - Ben Hur BUDD - The Stone Killer BARRY - The Ipcress File
Superman, I believe that is what all of us are doing!
I may have misread this particular post earlier Thor. I edited my next one though. I thought you were disagreeing with my point earlier, sorry about that. I stand behind the rest though.
Tiomkin: The Alamo Elmer Bernstein : The Great Escape Leonard Bernstein: On The Waterfront Richard Rodgers: Victory at Sea Alan Silvestri: Back to The Future Korngold: The Adventures of Robin Hood Bruce Broughton: Silverado Miklos Rozsa: King of Kings Alfred Newman: The Greatest Story Ever Told Max Steiner: Charge of the Light Brigade
I agree. This is really hard. Choosing only one score to represent each of only 10 favorite composers when their output can only truly be appreciated by hearing their different approaches to multiple genres. Also, I wouldn't necessarily recommend a score just because it represents a composer's typical output. I would recommend my favorites. And my favorites are usually big and bold, with a wealth of melody, expansive and immersive. So here goes:
Victor Young - Around the World in 80 Days (1956) A musical travelogue with rapturous melodies and colorful orchestrations.
Elmer Bernstein - The Ten Commandments (1956) Epic and dramatic - and Elmer was the new kid on the block when he wrote it!
Dimitri Tiomkin - The Alamo (1960) This made the list mainly due to the recent re-recording from Prometheus/Tadlow. What a revelation!
Miklos Rozsa - El Cid (1961) Love, battles and death - the score enhances all the dramatic elements of the story.
Alfred Newman - How the West Was Won (1962) Rustic and expansive, this one captures the western pioneer spirit.
Maurice Jarre - Lawrence Of Arabia (1962) A desert epic with a grand orchestral score. Can't wait for the recording from Tadlow.
Basil Poledouris - Conan the Barbarian (1982) The movie was okay but the music blew me away! Tender, lyrical and bold.
John Barry - Dances With Wolves (1990) Several beautiful themes to carry the action and drama of this wilderness epic.
John Williams - Hook (1991) Once you remove the songs and the stylistically out-of-place "Banning Back Home" track, what you have left is a wonderful fantasy epic, full of melody and great orchestration.
Jerry Goldsmith - First Knight (1995) I prefer Jerry's bold orchestral scores and this is one of his greatest.
These scores capture the time and place of their respective films and can also stand apart as dramatic and emotional narratives of the stories they accompany. This was whittled down from a list of about 50 - none of which I would want to do without!
John Williams: E.T. Danny Elfman: Batman Returns Jerry Goldsmith: Legend Elmer Bernstein: The Age of innocence Alan Menken: Beauty and the Beast James Horner: Braveheart Elliot Goldenthal: Final Fantasy Miklos Rozsa: Ben Hur Hans Zimmer: Gladiator John Barry: Dances With Wolves
Jerry Goldsmith: The Secret Of NIMH Basil Poledouris: Conan The Barbarian John Willliams: Superman The Movie James Newton Howard: Atlantis The Lost Empire Nick Glennie-Smith: The Man In The Iron Mask Georges Delerue: Joe Versus The Volcano James Horner: The Rocketeer Hans Zimmer: King Arthur Miklos Rozsa: Ben Hur John Powell: Happy Feet
10. Elmer Bernstein - AN AMERICAN WEREWOLF IN LONDON
Sad that there isnt more music of this - from comic to horror.
Great pick. I didn't go for this mainly because there isn't an official release (aside from Meco's Impressions). But there needs to be. Even if they put it with another score (due to the length). Maybe there's some unused music, as I'm still unsure as to where the City of Prague 'Metamorphosis' comes from.
Michael Convertino-Wrestling Ernest Hemingway Mr. Convertino pays beautiful homage to Debussy's Images for Orchestra and La Mer.
John Williams-Stepmom Bottomline: I love this score dearly. I would have to say that the track "Taking Pictures" is one of the best Williams has composed. Mr. Parkening plays the classical guitar flawlessly on this one and the oboe one hears towards the end always affects me everytime I listen to it.
Elmer Bernstein-The Good Son Mr. Bernstein's main theme on piano and full orchestra is beautifully written. Not only is it memorable but immensely sad as well. The ondes martenot he employs manages to hint (brilliantly) at the macabre aspect of Henry, the character played by Culkin.
Howard Shore-The Game Dark as the night is. Depressing and the stacatto piano used is quite effective in ratcheting up the suspense.
Philippe Sarde-Lovesick The themes grounded in waltz measurements are rapturous beyond belief. The one and only word that comes to mind whenever I listen to the score is SWOON.
Maurice Jarre-Jacob's Ladder The Kitka Eastern European Choir, Shakuhachi and piano flawlessly played by Gloria Cheng. Need one ask for more?
Jerry Goldsmith-Alien Terrifying. Extremely effective in reinforcing the claustrophobia aspect of the story.
James Horner-To Gillian on her 37th Birthday Tranquil and peaceful.
Bernard Herrmann-Sisters Goosebump-inducing exemplary use of Moog synthesizers.
Georges Delerue-Beaches Though the soundtrack is primarily driven by songs from the Divine Miss M, Delerue's "Friendship Theme" on solo piano is lovely and elegant. If only his full score could be released someday......
Alan Silvestri - The Mummy Returns Christopher Young - Spider-Man 3 Danny Elfman - Batman David Arnold - ID4 James Horner - Avatar Jerry Goldsmith - The 13th Warrior John Debney - Cutthroat Island John Williams - Indiana Jones & the Temple of Doom Hans Zimmer - The Peacemaker Michael Giacchino - Medal of Honor
You can tell from this list what kind of scores I like the most. In each of these cases, I believe it is the best score each composer has to offer.
Restricted to 10 scores by 10 composers means many great scores fall by the wayside...
Anyway, here's my list in alphabetical order.
Apollo 13 - J. Horner Ben-Hur - M. Rozsa The Empire Strikes Back - J. Williams Gone With the Wind - M. Steiner Henry V - P. Doyle Kings Row - E. W. Korngold Rebecca - F. Waxman Star Trek - The Motion Picture - J. Goldsmith The Ten Commandments - E. Bernstein Vertigo - B. Herrmann
James Horner: House of Cards James Newton Howard: The Village Basil Poledouris: Conan The Barbarian Bear McCreary: Battlestar Galactica: Season 4 David Arnold: Independance Day Danny Elfman: Batman Michael Giacchino: Star Trek Jerry Goldsmith: The Mummy Javier Navarette: Cracks Hans Zimmer: Pirates of the Caribbean - At World's End
Unfortunately Christopher Young, Alan Silvestri, Howard Shore & John Barry got dropped along the way.
Mind you I could have filled the list up with just Poledouris
