Composer of the Year (2006)

[tpigeon 3]

In my opinion, the two best film scores of 2006 are by one man: James Newton Howard, who I nominate as composer of the year.

Lady in the Water is a truly magical and quietly gorgeous score that deserved a better film. It quite honestly was able to inject the film with what it wanted to do, but fell short of. Howard creates a whole sound, a whole world, with his orchestrations and dancing piano motifs and string based themes. It is an undeniably Howard sound, but he takes ideas and motifs from other scores to Shyamalan's films and gives them real magic. The first time I heard this score, I had the chills for most of its duration. I was reminded by Elfman's Edward Scissorhands in the sense that he reprises the same theme many times, but re-packages it each time to make each appearance of the theme unique unto itself. It would have been nice to have the whole score on CD, or at least more of it, instead of having those Bob Dylan covers, as in the score itself there is more development of the somewhat minor theme on album for Cleveland Heep, a beautiful theme that is both humble and sad.

At any rate, the score culminates in two of the best pieces I've heard in some time, "The Healing" and "The Great Eatlon," which both bring all of the film's themes - minus Cleveland's theme, which is heard in the next track to close out the score - together in so many unexpected and striking ways. I love how Howard intwines them and builds them with each other. The final minute of the Great Eatlon contains some of the most rousing, emotional film music I can remember being so touched by in a very long time.

The other amazing score this year is one I just heard yesterday and haven't stopped listening to since: Blood Diamond. The first thing that jumps out after listening to this score once all the way through is the brilliantly original main theme, which is developed in several cues throughout the score but is never overdone. Each time you hear it, it has a different feeling and personality. It's a slow theme, often backed by ethnic percussion and sometimes a hypnotic children's choir. Like I said, the first time through, while I enjoyed the other cues, I payed attention mostly to this beautiful theme. But as I have listened to it more, the rest of the score began to take shape.

There are a few other themes and motifs for the quieter moments of the film that are subtle and rich with understated emotion. Once again, Howard's quiet string writing is unsentimental and quietly engaging that the emotion it evokes is often so much more real and profound than any hugely sweeping orchestral moment. Howard also creates a wonderful sense of atmosphere in these quiet cues, employing electronics and obscure ethnic instruments that create an echoising sound and a great contrast to that string writing I mentioned. The action music is more rhythmic and forceful; some cues work in an electric guitar to powerful effect. I didn't love the action music at first, but I have listened to it more closely and have enjoyed it more each time.

Like Lady in the Water, this score also brings together and rounds out its themes in the last three or four cues, and it is a knockout. It's hard to describe just how good the end of this album is, but the performances of the themes that are brought back one last time are nothing short of brilliant. Everything from the percussion to the choir to the orchestra itself progresses to beautiful climaxes, and the contrasting quiet piano moments are contemplative and incredibly emotional - again, without being sentimental or cliche.

Listening to these scores, I am so impressed with Howard's thematic development of motifs, themes, and musical ideas. I love how he brings them together and allows them to grow organically within the context of the feel and atmosphere of the surrounding score. 2006 was indeed a dismal year for movie scores, but these two stand out as shining lights, providing hope for film score fans that there is still so much great music out there in the minds of our best composers, at least one of which is experiencing a peak in creativity. Thank you, Mr. Howard, for your contributions to film music in 2006!

Which other composers are worthy of this award, in your opinion?

Ted

[crocodile 8,012]

Lady in the Water? Sure. Blood Diamond? Err... I mean, I haven't heard it yet, but I doubt that. So-called ethnic scores don't excite me anymore. At all.

Karol

[tpigeon 3]

Give a try. The cue, "London," is every bit as good as good as "The Great Eatlon." As for African sound, Howard does it like no other film composer.

Ted

[crocodile 8,012]

OK. I'll probably listen to it first when it comes out to decide whether I'm goint to buy this or not. I'm sceptical though.

Karol

[standbyfax 0]

Hmm... I will without a doubt agree with you that Lady in the Water is one of the best of the year, but I think the top award should go to Javier Navarrete's score to Pan's Labyrinth. It's just such a beautiful and enchanting score that pulls you in and doesn't ever let you go. I didn't think any score would be able to shake Lady in the Water from the top, but I was wrong. Actually, you can check out the entire score at the film's website, but I highly suggest you run out and buy the cd.

Blood Diamond is definitely a great score as well though. The build throughout the album that finally culminates in "London" and "Solomon Vandy" is amazing. James Newton Howard, I would say, makes composer of the year for his two fabulous scores.

[tpigeon 3]

Good assessment, standbyfax. I must admit that I haven't heard every score this year before making that judgement. I have been patiently waiting - though now it's killing me - to see Pan's Labyrinth since Del Toro is one of the very finest filmmakers today, and based on your comments I can't wait for the score either.

[Ray Barnsbury 8]

Wow, you've really encouraged me to check out Blood Diamond, Ted. I was assuming it would be the kind of JNH score that, though being a good score, doesn't necessarily lend itself to an overly enjoyable listening experience, like other thrillers and similar films he's done. But I've got to hear it now...thanks!

Ray Barnsbury

[Morlock 11]

Haven't heard Blood Diamond, but I do not think Lady In The Water is as amazing as all that. It is a very good album, and 'The Great Eatlon' is a fantastic cue, but it feels rather paint-by-the-numbers to me. The Main theme, which is a real stunner, a beautiful piece, is presented in it's entirety and in the same way just about every single time it's played. That really annoys me. Howard has done so many great scores, namely the Shyamalan ones, where he's spaced out the emotion. I just don't feel he cared about this film very much at all. He wrote yet another this kind of theme and that kind of theme. They're all great, but they don't feel genuine to me. And this score in particular had me quetioning JNH's sound. He does have a sound when it comes to certain things, but a great deal of this album didn't sound unique.

It is good music, and a good (though uneven) film score. But I do not think it's as great as all that....it wears thin after a while.

Can't wait for Blood Diamond, though.

[tpigeon 3]

If we're doing a composer of the year award, I'd nominate Alexandre Desplat after James Netwon Howard. I haven't heard The Painted Veil yet, though I hear it is excellent, and The Queen was a great score, certainly one of the year's best.

Ted

[Alejandro 26]

At the moment, it's between Alexandre Desplat and John Powell. Powell had United 93, X3, Happy Feet, and Ice Age 2 ... all solid scores.

[Morlock 11]

I like The Queen album a great deal, and can't wait for the film. No interest in the movie The Painted Veil, but I can't wait for the score. I thought Desplat was just a fad, but after listening recently to Girl With The Pearl Earing, Hostage, Syriana and The Queen, I am really excited whenever I see his name in the credits. Bring on Mr. Magorium's Wonder Emporium!

[tpigeon 3]

I like The Queen album a great deal, and can't wait for the film. No interest in the movie The Painted Veil, but I can't wait for the score. I thought Desplat was just a fad, but after listening recently to Girl With The Pearl Earing, Hostage, Syriana and The Queen, I am really excited whenever I see his name in the credits. Bring on Mr. Magorium's Wonder Emporium!

I couldn't agree more, Morlock.

Ted

[Red 75]

Yes, I am one of the tens of people who are looking forward to Mr. Magorium.

BTW, that first post is maybe the longest one that I've seen on this board.

[tpigeon 3]

I've made longer, red_rabbit, back in my heyday. I like to write article-like stream of conscious posts regarding certain topics in case you haven't noticed.

Ted

[Red 75]

Oh, I have.

[BLUMENKOHL 1,068]

James Newton Howard followed by Alexander Desplat.

[alfredo 0]

For composer of the year I would nominate:

James Newton Howard

2006 Scores: Blood Diamond, Lady in the Water, RV, Freedomland

JNH has always been a favorite of mine and his scores to all 4 movies were solid, although I did not take to Freedomland much. JNH hopefully has a long and fruitful career ahead of him and I think he is starting to get into the scene more, taking on challenging and advancing projects.

John Powell

2006 Scores: Happy Feet, X-Men: The Last Stand, United 93, Ice Age 2: The Meltdown

Before this year I only lightly knew of Powell and his work, but after this year, he has escalated to one of my favorite composers. All four of his scores this year were excellent and Powell has shown his ability to score a wide range of films.

Hans Zimmer

2006 Scores: The Holiday, Pirates of the Caribbean: Dead Man's Chest, The Da Vinci Code

I have never been a fan of Hans Zimmer, and I still am not. However, I must conceed that this man has had a great year as far as his career goes, scoring 3 very different films. He scored the summer' biggest film, and he is getting recognized in the lists of nominations for his work on The Da Vinci Code.

My Choice for Composer of the Year:

John Powell

He stole the spotlight this year and he has proven himself to be one of film score's greatest prospects for the future. For this, he is composer of the year!

[Morlock 11]

Only heard one JNH score so far, so can't include him as of yet.

As for Powell, four solid scores. Ice Age 2 was great fun, a worthy follow up to Newman's original. United 93 was barely noticable in the film, but this is a case where that old cliche is true- I felt it, and that's a good thing. Plus, I love that final chord. X-Men 3 was a bit choppy, but still very good, with excellent new themes (concidering the film, Powell did a commendable job in all respects). Happy Feet's score was fine enough (Didn't generally notice it, to tell the truth, and this time, not ina necasserily good way), but Powell did fantastic work producing all the songs. Even if the score wasn't all that great, the music for the film was top-notch.

As for Zimmer....well, I am well documented with my love for Zimmer, and this year is no exception. I liked them all. Da-Vinci Code is an engrossing, satisfying kind-of-dark score, consistantly listenable and rewarding. Pirates 2 is a huge improvement on the original, making good use of the original's themes, adding a couple of terrific new (or new-ish) theme,as well as some very fun action music. And The Holiday was just plain lovely. A bit too schmaltzy at times, like the film, but at least a couple of terrific tunes, and just a wonderful and pleasant listen. I just love Hans' comedy work.

So far....no clear contender. But, then again, I can hardly think of a year when soemone other than JW wasn't the composer of the year for me. Certainly true in 2005, and in 2004 (though Shore ain't far behind, for The Aviator alone), and in 2002, and in 2001, and in 1999.....(No one I particularly loved in 2003, and Zimmer gets it for 2000, in case you're wondering)

[bondo 33]

My pick: Michael Giacchino

He ended the Alias finale with a score worthy of a feature film, he continued Lost, and he had another film hit with Mission: Impossible 3. In the future, we have a new Medal of Honor score to look forward to and possibly the next Star Trek score.

[Indiana_Fett 0]

Airborne and ST:XI will be nice. I hope he acknowledges Horner's contributions to the franchise.

[David Coscina 3]

Thomas Newman. The Good German is the best thing I've heard...and I've had to listen to a lot from this year.

[Ollie 1,059]

Airborne and ST:XI will be nice. I hope he acknowledges Horner's contributions to the franchise.

It would be nice if he came up with something fresh and original for ST. The only piece of music he needs to acknowledge is Courage's fanfare.

Horner's music would not fit any other film.

[JoeinAR 1,949]

My pick: Michael Giacchino

He ended the Alias finale with a score worthy of a feature film, he continued Lost, and he had another film hit with Mission: Impossible 3. In the future, we have a new Medal of Honor score to look forward to and possibly the next Star Trek score.

8O

[crocodile 8,012]

I don't have anything against Giacchino like you do, but I would like him to do something that isn't an homage or a continuation of someone else's work, so he wouldn't be my choice. Not yet.

I will go with Danny Elfman. His Serenada Schizophrana is probably the best thing to come out from any film composer this year and Elfman's best work ever. Impressive and very enjoyable. Period.

Karol, who doesn't quite normally get into Elfman's music.

[Mr. Breathmask 555]

Giacchino produced some nice work this year, but not good enough to make him composer of the year.

[BurgaFlippinMan 7]

I thought this is a JW forum? JW should win for his football music!

[Trumpeteer 302]

My vote for composer of the year is John Williams.

He didn't write a new film score this year, but because I found this to be a fairly weak year for film scores, until late October, I always found myself wondering why JW didn't take on some of this year's films.

His football music is fun to hear whenever I happen to watch NBC's football games.

My second choice would be Desplat. The music for "The Queen" was unexpectedly good.

I have yet to see "The Good German, " "Lady in the Water," "Blood Diamond" or "The Painted Veil."

[Mr. Breathmask 555]

My vote for composer of the year is John Williams.

Fanboy!

8O

[Ollie 1,059]

I look at this list of composers and just say wow....... 8O

It looks like JNH may be taking that next step to be the top dog, behind Williams, in Hollywood.

Elfman and Shore always deliver and I have high hopes for Giacchino but I just can't get excited about the other's works. Powell maybe, all one has to do is listen to the 2 Shrek scores and you can tell Powell was the better composer.

[Morlock 11]

Powell maybe, all one has to do is listen to the 2 Shrek scores and you can tell Powell was the better composer.

Huh?

[BurgaFlippinMan 7]

compared to Gregson Williams I guess?

[Ray Barnsbury 8]

Hmm, except that HGW scored Shrek 2 alone, and given his solo scores since, I'd say that he had perhaps more of a hand in the first score as well.

Ray Barnsbury

[tpigeon 3]

Gregson-Williams has matured very much as a film composer. I see great things coming from him in the future. And I think Mark is right about James Newton Howard. Within five years, he will be the top dog in the film score community, again, with the exception of Williams, who may not even be composing that point. Howard's projects have become steadily more interesting, and he has worked with several notable directors. He just needs to stop scoring movies like Freedomland and RV. I have full confidence in him becoming the class of film scoring, as I think he shares that title with Williams and Elfman right now.

Ted

[bondo 33]

My pick: Michael Giacchino

He ended the Alias finale with a score worthy of a feature film, he continued Lost, and he had another film hit with Mission: Impossible 3. In the future, we have a new Medal of Honor score to look forward to and possibly the next Star Trek score.

8O

I value your opinion as well

:micro:

[Morlock 11]

I haven't heard RV, but I did like the little score he composed for Levinson's movie Big Trouble.

As for Gregson-Williams, I still think he's one of the most interesting ones out there. He hasn't shown it this year (although I haven't heard Seraphim Falls), but over the past few years he's had some remarkable scores. Kingdom of Heaven and Sinbad are two of the best scores in recent years, and I love Shrek 2, Veronica Guerin and Team America. In general, him and Powell are the two most interesting composers to come out of MV.

[Vaderbait1 1]

My vote goes for John Powell. Why? While JNH is certainly great, Powell had more solid scores than anyone else. And in my book, a steady stream of strong scores outweighs a great score and some lesser scores. Plus, give it to Powell, this is his breakout year. He's finally getting noticed by more than die-hards, and I think he should get the edge over a veteran like JNH because of that.

[SomeNewGuy 0]

I love James Newton Howard's music (no secret), and he's once again composed the best score of the year, this time with Lady in the Water. His previous wins, in my opinion, were 2002 for Signs and 2004 for The Village. King Kong is good enough to have won some years, but Williams' output was just too good to top (Revenge, Memoirs, and Munich filling the top three spots before Kong). I've only heard samples of Blood Diamond, which I don't expect to be of the highest quality. The softer material sounds nice, but it's clearly not good enough to rival work like Lady in the Water or The Village.

Is he composer of the year? Perhaps. I honestly haven't listened to a wide enough variety of music to answer that. John Powell has certainly had a breakout year with several popular scores. I did not find any of them to be particularly engaging, but they were solid works that definitely put him on the map. I look forward to hearing his future output.

The biggest hole in my collection from '06, it seems, is the complete lack of Desplat. In fact, I haven't yet seen a single movie he composed for. I'll pick up Syriana after my next purchase, which will most likely be The Good German.

[Morlock 11]

His previous wins, in my opinion, were 2002 for Signs and 2004 for The Village.

Signs was also my favorite score of 2002, and The Village was pretty close (probably third favorite, after Azkaban and The Aviator).

The biggest hole in my collection from '06, it seems, is the complete lack of Desplat. In fact, I haven't yet seen a single movie he composed for. I'll pick up Syriana after my next purchase, which will most likely be The Good German.

I'd go for other stuff before Syriana...it's good, but not nearly as good an album as The Queen (and, if you don't have it yet, Girl with The Pearl Earring).

[Ollie 1,059]

Powell maybe, all one has to do is listen to the 2 Shrek scores and you can tell Powell was the better composer.

Huh?

It appears part of my post got deleted.

I had mentioned that Powell was showing some promise but the only scores I had were the two he worked with HGW on, Shrek & Chicken Run. But Shrek 2 is a bland score so it appears that Powell was the better composer of the 2 since CR and Shrek were much more interesting with his involvement.

[Morlock 11]

It appears part of my post got deleted.

I had mentioned that Powell was showing some promise but the only scores I had were the two he worked with HGW on, Shrek & Chicken Run. But Shrek 2 is a bland score so it appears that Powell was the better composer of the 2 since CR and Shrek were much more interesting with his involvement.

That's rather specious reasoning.

[Ollie 1,059]

Getting off the subject of composerof the year, I find HGW's works to be bland as it is. There was a big difference in quality between CR, Shrek and Shrek 2. You can notice Powell's absence from S2.

In my opinion he was the one who brought some life to the scores.

[crocodile 8,012]

In my opinion he was the one who brought some life to the scores.

Yes, but how does he compare to Illayaraja - the greatest film composer ever?

http://jwfan.com/index.php?name=PNphpBB2&f...hlight=greatest

Karol, who found this thread recently.

[Ollie 1,059]

Ahh yes.......the memories.

[Ray Barnsbury 8]

Then again, the only score of those that Powell was absent from was the only sequel of the group. So we don't really know if it would've been any "fresher" with Powell.

Ray Barnsbury

[Ollie 1,059]

I've noticed a big difference but that's just me.

[Ray Barnsbury 8]

I suppose you're entitled.

Ray Barnsbury

[Ollie 1,059]

Yes, I'm using my veteran status.

[King Mark 3,631]

I"ll use the Grammy timeline and say JW

K.M.

[crocodile 8,012]

That's the spirit!

Karol

[Ollie 1,059]

With the release of 2001 Alex North gets my vote.

Actually with the release of the Elmer Bernstein box set and Birdman Of Alcatraz, Elmer Bernstein could be composer of the year.