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Musica42
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It's come to my attention that many of my favorite scores by many of my favorite composers happen to be within the feature length animation genre.

Powell - How to Train Your Dragon, Bolt

Giacchino - The Incredibles, Ratatouille, UP

Goldsmith - The Secret of N.I.M.H.

Horner - An American Tail, Land Before Time

Desplat - Fantastic Mr. Fox

Zimmer - Lion King, Prince of Egypt

Hisiashi - Miyazaki films

Thomas Newman - Finding Nemo

David Newman - Anastasia

Coulais - Coraline

Kamen - Iron Giant

Silvestri - A Christmas Carol

JNH - Atlantis

Elfman - Nightmare

Williams - ...Mr. DNA?

There's a certain willingness to accept unique musical approaches and Romantic-era music sensibilities within this genre that I just don't find to be the case in most other genres anymore. Where does this willingness come from? The directors? The inherent need to sell the oft fantastical settings? Its a strange albeit welcome habit of Hollywood and I'm curious what everyone's thoughts are on the subject.

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I think part of it has to do with more creative freedom. I also think music is more important to animated films than it would be a live action one.

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It's come to my attention that many of my favorite scores by many of my favorite composers happen to be within the feature length animation genre.

Powell - How to Train Your Dragon, Bolt

Giacchino - The Incredibles, Ratatouille, UP

Horner - An American Tail, Land Before Time

Desplat - Fantastic Mr. Fox

Zimmer - Lion King, Prince of Egypt

Hisiashi - Miyazaki films

Thomas Newman - Finding Nemo

David Newman - Anastasia

Coulais - Coraline

Kamen - Iron Giant

Silvestri - A Christmas Carol

JNH - Atlantis

Elfman - Nightmare

Williams - ...Mr. DNA?

There's a certain willingness to accept unique musical approaches and Romantic-era music sensibilities within this genre that I just don't find to be the case in most other genres anymore. Where does this willingness come from? The directors? The inherent need to sell the oft fantastical settings? Its a strange albeit welcome habit of Hollywood and I'm curious what everyone's thoughts are on the subject.

You forgot Jerry Goldsmith's "The Secret Of N.I.M.H."

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Watership Down, of course.

http://www.youtube.com/watch?v=h9czkZiO-38

John was maybe influenced by 1:50 onward for his 'Goodbye' section of E.T,a few years later.

Considering they both worked together on scores in the late 70s and 80s, then it's possible.

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Sure, and think about all those great Warner Bros. Merry Melodies/Looney Tunes cartoons. Those were like, every kids introduction to Classical music when I was growing up. Carl Stalling, on average, wrote 4 six minute scores a week. Of course, he still had that great WB music library to draw on too. But, still, great stuff.

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For some reason, animated films let composers shine with their music. Maybe is because this medium has very direct emotions and therefore allows more development for themes and thematic ideas. Even with bad animation, composers usually deliver great scores.

And Carl Stalling was a genious. Boy I miss his approach. It's the kind of mickey-mousing that (at least for me) doesn't sound silly. It sounds fun, but not silly. And the music was one of the main things that made the Looney Tunes shorts so damn good. And the use of a pure orchestra was sublime. Those were musicians! Having to play all those crazy notes and those incredible changes of tempo! They really deserve respect.

If Chris Nolan did an animated film he would ruin the genre forever, at least musically...

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