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Discussion Starter · #1 ·
From the beginning of the advent of the movie where audiences would settle down in a darkened movie house with only the pianist playing the piano, where's from the days of the silent went to the talkie and revolutionizing film with the next step in evolution.


It's with this thread will look back on the last 100 years of the composer.




The films composer is one of those vital invisible elements that, gives the film warmth during lush beautiful sceneries like that in Out of Africa and John Barry's majestic score sweeping over the plains of Africa, to cold chilling and thrilling Aliens of James Horner with shocks and surprises around ever corner. From the memorable theme from fly over the moon with E.T. is more than enough to give you a lump in the throat. Or the eeriness of Jerry Goldsmith's the Omen.
 

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The Gladiator soundtrack by Zimmer and Gerrard is by far the most memorable since E.T. by Williams. Every theme perfectly mesh with the movie. Everytime you hear it takes you to that scene.


Is this soundtrack available on SA-CD or DVD-A?
 

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Discussion Starter · #3 ·
Xylon


I have no data to say it does exists on DVD-A and it would be very nice to hear that in the home in six-track, I only have one score on CD in dts six-track Titanic, but to even hear Gladiator in the fullness of six-track would be smashing, I only wish the studios where producing six-track original versions of the composers work rather than the 2 channel stereo versions that are commonly filling the bookshelves.
 

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Ennio Morricones scores from Once Upon A Time In The West and The Good, The Bad And The Ugly are absolutly stellar.


Howard Shores soundtracks are also very memorable (including some of his pre-LOTR work with Cronenberg and Fincher)
 

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Call me a fanboy, but I still think it doesn't get any better than the scores for Star Wars (picking Empire as the best of the bunch). But assuming that's off the table, I'll go with Goldsmith's Rudy score.


Note - if any film score films aren't aware of it, here's a great site: http://www.filmtracks.com/ratings/


And, be sure to have Cinemagic should be on your XM radio.
 

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For me, nothing beats a John Williams film score:


Star Wars (all 6)

Superman

Saving Private Ryan

Jurassic Park

Raiders of the Lost Ark

Empire of the Sun

Jaws


Edit: Any Danny Elfman score is great too.
 

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For Sunday brunch Rachel Portman's score for the Paltrow EMMA is very pleasant.


I like Patrick Doyle's music for the Branagh films.


I have a Michael Nyman compilation of music from THE PIANO and PROSPERO'S BOOKS which is just gorgeous.


Jerry Goldsmith had a lot of great music: I had ALIEN on vinyl but never replaced it.


I've always meant to go back and research Copland-sounding themes from the early 60s: maybe ELMER GANTRY or THE MANCHURIAN CANDIDATE?


-Bill
 

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Some movies whose impact is so enhanced by their scores, it is almost impossible to recall certain scenes in them without hearing the score in your head:


Citizen Kane

On The Waterfront

Vertigo

North By Northwest

Psycho

Spartacus

The Apartment

Lawrence of Arabia

Doctor Zhivago

Guns Of Navarone

To Kill A Mockingbird

The Godfather

Jaws

Star Wars

Forrest Gump
 

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I would have to say Schindler's List struck me as a very powerful score. At this point, selecting a John Williams score almost seems like a generic answer. But, I find he has the ability to make more out of a movie than there really is.
 

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I like Hitchfan's list.


I'll toss out a couple personal favs:

Forbidden Planet. Nothing you'd probably want to toss in the cd player in the car and tool down the highway to, but very brave and groundbreaking for the time (and now as well, really!) Not really music, not really sound effects but a hybrid. Created before the synthesizer had made electronic music somewhat practical, the Barrons (Louis and Bebe) slaved with home made oscillators and tape machines for weeks, and then were prevented by the American federation of Musicians for receiving credit for their work on FP.

Planet of the Apes/Patton Two of Jerry Goldsmith's best. The first was bold in its use of dissonance and modern musical techniques, illustrating that when put to a picture average people will accept and enjoy music they would run screaming from if it confronted in a music hall. Patton followed almost immediately with a far more traditional sound but still employing the innovative use of a tape delay on the trumpets, a trick that helped create a score as synonymous with the film as Goerge C. Scott's performance.

Conan the Barbarian Sorry, but for all you Gladiator lovers- THIS is how you invoke the feel of Wagner and Richard Strauss in your score, not by simply ripping it off wholesale.
Derivative, totally non-innovative and utterly outstanding.

Buckaroo Banzai: Adventures Across the 8th Dimension The greatest cheesy 80's synth score of them all, and I think the only film ever done by renowned session synthesist Micheal Boddiker. The main theme is just SO catchy.

The Others OK, John Carpenter has had a couple moments but when you see a film director has scored his own film it's generally a bad, bad thing. Not so here- this was a subtle, lyrical, perfect score.

Spartacus Hitchfan already has this one but it stands repeating. Alex North delivers one of the finest scores in history not written by Bernard Herrmann.

The Wizard of Oz Not the songs- they were great as well, of course. But the orchestral score. I really feel no need to have to justify this one, in fact!!
 

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I am glad you "got started," Fred. A pros ears are great here.


Speaking of John Williams, who I have followed since his early Checkmate[/i TV series days, no one has mentioned my personal favorite of his - Memoirs Of A Geisha - which, while setting no landmarks like Fred pointed out, was dead spot on and exquisite with Yo-Yo Ma and Itzhak Perlman playing.
 

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Philip Glass Koyaanisqatsi. Also Naqoyqatsi w/YoYo Ma.

Vivaldi & Trevor Jones Runaway Train. The Gloria in D that closes the film always makes me want to cry.

Hans Zimmer Thin Red Line. you'll hear this in someother films like Pearl Harbor (god that movie is terrible), but it's great in the original film.


Also the score to The Insider is memorably good, Peter Bork(sp?) and Lisa Gerrard. Some very great tracks.

Vangelis Chariots of Fire. Classic film, classic score.


I don't like John Williams, especially with Spielberg. That combination is more like: "hey idiot, in case you didn't get all the obvious cues about what emotion you're supposed to be feeling right now, here's some REALLY obvious music..."
 

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I always thought Runaway Train was great as well. I wonder if credit for using the Gloria goes to the director??


Thought of another brilliant Alex North score: Dragonslayer. Very brave of Disney to go with such an unusual quirky soundtrack for a genre film.


Not that anyone cares probably but since I'm bound to be this thread's opinionated A-hole
here's my John Williams rant: the man has written some brilliant music but never a brilliant score. They all have moments of genius marred with bad choices. For example, I'll get crucified for this, but the Star Wars main title theme is pure horrendous dreck. Princess Leia's theme is almost perfect, however (even if it is stolen from Rimsky-Korsakov), and the Imperial March is great (even if it's stolen from Holst). The main title for Superman is his best march but most of the rest of the score is forgettable. Raiders is 50/50. For my money Schindler's List is way too obvious and sentimental. I do like Memoirs, largely for Yo Yo Ma's typically stellar performance as mentioned above. I'd have to say William's most all around quality and memorable score is easily Jaws. And of course, ET sucks on every level, musical and otherwise. Just my humble opinion of course *lol* Flame on!
 

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Discussion Starter · #19 ·
I can often hear that in my subconscious mind, I listen to a lot of classical music on classic fm here in the UK, where all of a suddenly I here a string moment and I say, that sounds like so and so.


I like the effeteness of Bill Conti's score for The Right Stuff where it was seamlessly blended with Holist and the planets, brilliant the main theme was used over here in a TV advertisement for British electrical power during the 1990's.



I was just listening to (Antonin Dvorak) "Symphony No.9 In E Minor Opus 95" the last beat of the music sounded something like that was used in the Star Wars episode 3 Revenge of the sith trailer where the camera suddenly moves inwards on Darth Vader where it as this dramatic beat!


(Richard Strauss) Sprach Zarathustra Opus (2001 a space odyssey) came at the right time when man was about to set his sights upon the moon, very moving.


I guess some film composers listen to a lot of classical music and other film composers to find a genetic connection that would work in a film with a few additional tweaks here and there hoping I guess no one is going to notice, the connection of its origins.
 
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