Silverfighter? i had no idea anyone else knew who morricone was! that is awesome! have you heard the lolita soundtrack? it's good
for me:
-Ennio Morricone [ the good the bad the ulgy, lolita, cinema paradiso, malena]
-Thomas Newman [ green mile, shawshank redemton, finding nemo]
-Michael Nyman [ gattca]
-Clint Mansel [requiem for a dream]
-Hans Zimmer [ matchstick boys]
-Danny Elfman [ almost every Tim burton movie]
-James Horner [ enemy at the gates, beautiful mind]
-Cliff Martinez [ solaris, traffic]
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Last edited by felixthecat23 on Nov 18th, 2003 at 10:11 PM
Gender: Male Location: Welfare Kingdom of California
>felixthecat23.
I just love Morricone music!! Lolita soundtrack is very captivating and relaxing to listen. There is a couple of Morricone's soundtracks that I also really like: The Untochables and Once upon a time in America. First time I heard those I was WOW that's some awesome music! I couldn't believe it was Morricone but I guess he is that talented! He truly is one of the best composers in movies.
>silverfighter
I agree! the first time i heard him i was in a cinema class watching cinema paradiso, which i love, but when i watched "lolita" my friend had brought it over and i was like "oh my goodness". it's not a great movie. it needs better actors in the sense of melani griffen. she over acted a lot. but when i hear the music for any film that Morricone does the soundtrack you feel that moment. you can also hear it in "Mission to Mars"
oh yeah to add one more:
-Alan Silvestri [ cast away, contact, back to the future 2 & 3]
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John williams hands down. I also like the matrix movie scores, very awesome indeed. Don Davis I believe his name is (when combined with Juno Reactor they're unstoppable)
not to shoot you guys down,
but i cannot share the same enthusiasm for John Willams. most of his composing sounds the similar. you can normally spot his work just by listening ..... kinda like danny elfman. i do agree that some of their work is good when they break their own mold or structure of music. When John Williams did "A.I." or "Catch me if you can" i really had to look at the credits.
it seems he normally goes for the big payoff in endings. it reminds me of classical music you can tell when the ending is coming.
It's called phrasing, and music is supposed to do that. If the music doesn't go anywhere, well, it doesn't go anywhere.
That being said, I completely agree with you about Williams' music. Much of it sounds really similar, and after a few decades and dozens of movies, "similar" really becomes "derivative" or "repetitive." I did, however, enjoy Seven Years in Tibet and a good deal of his new stuff in the Star Wars PT films.
I first read this thread late Monday night, when it had half the replies, and I was disappointed that no one had mentioned James Horner. I'm glad that they now have. While his music is also rather trademark, it has a complexity and sophistication I really like.
Howard Shore's music in LOTR is decent. Parts, such as the theme from the Shire, actually sound as though someone took a James Horner score and taceted half the orchestra's parts, doubling the remainders. While the orchestral parts truly were unimpressive, though, the choirs and solo vocalists were fantastic! Isabel Bayrakdarian's parts were absolutely phenomenal, and Elizabeth Fraser's parts were, erm, written extremely well. :shrug:
Danny Elfman, for me, absolutely destroyed an already poor movie in Chicago, and that brought my opinion of him down from the "poor" it was at to "horrible."
There are really two aspects to composition - equally important - even though the general public can only appreciate one. There's the emotional, beautiful aspect that everyone can recognize - responsible for the success of LOTR's music and, dare I say it, Kenny G's. This is simple, comparatively and though it often runs afoul of its partner, does not necessarily exclude it. The other, much, much move difficult aspect to work on is technical. Alternate meters and rhythms, complex harmonies, reharmonizations, and chordal progressions, difficult technical passages of speed and range, and conceptually difficult "long-form" works are enough to test the abilities of the most skilled composers. When, in film scoring, you combine those challenges with very specific time constraints and sovereign visions of directors and producers, and then the last-minute changes of post-production, it really becomes the ultimate challenge. It's something that I feel James Horner does extremely well.
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Nov 17th, 2003 03:11 AM
I Love You Likey 
While his music is also rather trademark, it has a complexity and sophistication I really like.
