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Top 10 Film Composers


Koray Savas

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This will kind of be a companion piece to my "Top 10 Musical Artists" thread, which I did intend to be separate from film scores. A lot of members did their own all encompassing thing, which was cool and I appreciated the discussion there. Here, though, I will go into an in-depth (or really medium-depth) analysis of my favorite film composers, their style, and what I love about them. I spent a lot of time mulling over my selections the last time, and went through my discographies of those musicians' work chronologically in order to formulate my thoughts. Ideally I would like to give these fine composers the same attention, but doing so will result in my musings being spread out over a long period of time, considering the sheer amount of hours of music I have. I was planning on starting this thread well after I began actually going through the music again, but tonight the mood to write struck me, so I've decided to share with you my #10.


10. THOMAS NEWMAN
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Recently I touched upon the director-composer relationship in a little review of James Newton Howard's The Last Airbender. Like many classic filmmaking partners, such as Leone and Morricone, Hitchcock and Herrmann, and Spielberg and Williams, there are equally fruitful companionships with younger filmmakers working today. I included Shyamalan and Howard among them, and I now I will add Sam Mendes and Thomas Newman.

The two first teamed up on Mendes' debut feature, American Beauty, which garnered several Oscars, including Best Picture and Directing, and a nomination for Newman. If you haven't seen the film, it's really something great, and you should check it out. Focusing more on the score, however, Newman brought his unique blend of light quirkiness and melancholic drama to the picture. This is something he would go on to develop beautifully further in his career. What I feel like people don't recognize in Newman, is how well he can score drama. When I try to think of great dramatic scores not much comes to mind. There are political thrillers and slow burn mysteries, which all contain dramatic elements, but there isn't much in regards to familial drama. Jump three years ahead to Road To Perdition, and Mendes and Newman deliver a tour de force in filmmaking. A movie with 30s gangsters and dirty money, but at its heart a family drama. This is the element Newman scores, and he gets deep into the core of this wonderful film. Accenting the Irish background of the main characters with his instrumentation (hear "Rock Island, 1931"), Newman really fleshes out the plot and carries the whole thing along, brimming with a hopeful sadness and a slight edge of eccentricity for the more unusual characters. Hear "Meet Maguire," which accompanies an awesome introduction shot of Jude Law's character. It's this type of playfulness that helps define Thomas Newman. His use of instrumentation brings a distinct and punctual sound to his music. You can't mistake it for anyone else. He keeps it small and close to the emotions on the screen, never really going above the picture, but tugging it along from underneath (if that makes any sense). Mendes really lets him shine with "Ghosts," a climactic scene in which most directors would accentuate the action and violence, but here Mendes gives it all to Newman, where the sound is muted and his music makes the scene.

I realize I've spent a lot of time (I could write endlessly) on Road To Perdition, but as it's my favorite Newman score and one I feel to be his definitive work, a lot of what he does here can be heard in his other film scores. His other works with Mendes, Jarhead and Revolutionary Road (the latter being my second favorite score of his), also display his skill in character scoring. He has a similar relationship with Frank Darabont, and I whole heartily recommend his music for The Shawshank Redemption and The Green Mile, which both feature that signature blend of musical stoicism and profound beauty. There's just no one else that even closely resembles Thomas Newman's style and understanding of scripted drama, except for perhaps my #9 ;)

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I wouldn't put Thomas Newman in my top 10, but certainly top 100 and probably top 50. :P

The Shawshank Redemption might be what I consider to be his definitive work.

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The Shawshank Redemption might be what I consider to be his definitive work.

No, I believe his definitive work is Angels in America.

Alice will not return, Koray. Not need to do that.

As I said before, she'll be back. They always come back.

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So....is this a thread for your top 10 only, or could we give ours as well?

Oh by all means share. That's the purpose after all. I want to share with you all my favorites, and would love to read about yours.

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I'll come up with my top ten but does it have to be film or is it just from an aesthetic standpoint?

That's also a good question. I won't deny that my list primarily stems from how much I like to listen to them on album, with the actual film context being a secondary concern. Alternatively two different lsits, depending on which focus you have.

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Write from whatever viewpoint you like. Naturally we all have scores to films we haven't seen.

Is this why your tag above your profile pic has said "Top 10 Composers"? I was wondering about that...

Yeah it was a bit of an easter egg teaser.

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OK, honestly when I look at my plays, the top ten are:

1 Oceanlab (Satellite etc.)

2 Ke$ha (I know, I know...Your Love is my Drug...)

3 Buffy Once More With Feeling (soundtrack)

4 Howard Shore (LOTR)

5 (Jerry Goldsmith (ST)

6 JW (Various, mostly HP)

7 Katy Perry (Teenage Dream album)

8 Armin Van Buuren (various)

9 Tiesto (various)

10 Matteo Di Marr (various)

OK, let me guess: Koko's number 1 is Morricone. Giacchino must be in his top 5. Zimmer must be in there somewhere. Powell as well. Newton Howard, possibly. Shore, definitely. Perhaps Desplat (not sure about that one). Don't know who the others could be. You'll see I'm right about those I mentioned, though!

you talking about me? I'm a trance girl

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OK, let me guess: Koko's number 1 is Morricone. Giacchino must be in his top 5. Zimmer must be in there somewhere. Powell as well. Newton Howard, possibly. Shore, definitely. Perhaps Desplat (not sure about that one). Don't know who the others could be. You'll see I'm right about those I mentioned, though!

Obviously Morricone is number 1, and he'll probably have Johnny at #2 and Zimmer at #3. Giacchino top 5, Powell and JNH in there too. I'm not who will make the 2 mystery spots, but it won't be Desplat or Shore.....

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1. Williams

2. Goldsmith

3. Elfman

4. Horner

5. Goldenthal

6. Herrmann

7. North

8. Morricone

9. Kamen

10. Giacchino.

It's a kind of boring, predictable selection. But it is what it is. The order changes every now and then.

There is a lot of composers missing, obviously. But that's because I like only the selected scores of theirs.

Karol

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These things change continually, and what is my top 10 now may not be so in 6 months (except the ones at the top). So right now, it would look something like this:

1. JOHN WILLIAMS (completist)

2. Danny Elfman (completist)

3. Hans Zimmer

4. Elliot Goldenthal (completist)

5. James Horner

6. Jerry Goldsmith

7. Alan Silvestri

8. Franz Waxman

9. James Newton Howard

10. Basil Poledouris

Vangelis would have been in there, but I feel it's too limiting to call him 'just' a film composer, so I decided to omit him in this particular case.

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9. ALEXANDRE DESPLAT

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I became aware of Desplat back in 2006 when I saw The Queen, and thought how bland and boring the score was. I was amazed when he earned a nomination for the music, and at that point went back and sampled a couple select scores. I think they were Firewall and Hostage, and those made matters worse. Then The Golden Compass came out, and I gave that a shot and it failed to grasp me as well. I concluded he was generic, but then he was announced as composer for Fincher’s then upcoming The Curious Case Of Benjamin Button. I was disappointed that he didn’t reteam with Howard Shore after using David Shire on Zodiac. My expectations were low, obviously, but after seeing the film, everything changed. Desplat, with his underlying metronomic rhythms and delicate string writing, finally grasped me. The music was as fragile as Benjamin Button, and was almost like a lullaby for the character. He had found a way to accent the fantasy element of this otherwise realistic portrayal of one man’s life, and it was ultimately my favorite score of 2008.

The following year he scored The Twilight Saga: New Moon, and despite the awfulness present in that film, he composed a knock-out score with a gorgeous theme. I still remember first hearing it, standing in the theater waiting for it to end on opening night (I worked at one), and that theme played as some ridiculous cliffhanger ending occurred, and I was in awe. He was then announced as the replacement for James Newton Howard on The Tree Of Life. The thought first disappointed me, but the more I listened the more optimistic I became. I was officially a fan.

I like to keep up with Desplat’s ever growing output, but I don’t think I’ll ever become a completist. It’s when he’s utilizing his minimalistic rhythms that he really grabs my attention, whether it’s the amazing underscore to The Ghost Writer or The Special Relationship, or his musical suite for Moonrise Kingdom, Desplat strongly propels the films he scores forward with what feels like the slightest gust of air. I can’t discuss his work without mentioning my favorite score of his, but I’m sure most will recall the praise I’ve given to Fantastic Mr. Fox. It’s melodic, rhythmic, and wonderfully orchestrated, but most of all exciting and fun... all within the guidelines of his usual stylings.

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If we're just doing film composers, here's my list:

1. John Williams

2. James Newton Howard

3. Alan Menken

4. Danny Elfman

5. Jerry Goldsmith

6. Hans Zimmer

7. James Horner (he would be higher on the list if it weren't for his plagiarism)

8. Philip Glass (does he count? I only have one of his film scores, so his concert works are his biggest strengths for me)

9. Michael Giacchino

10. Alexandre Desplat (don't really have enough of his scores to accurately judge him but based on what I do have this is where he is)

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Just before Koko's list here is mine shortie:

1. John Williams/ Angela Morley

2. Jerry Goldsmith

2 . Thomas Newman

4. Howard Shore just with LOTR and Hugo

some good cues by many but to my list? out of the question.

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OK, let me guess: Koko's number 1 is Morricone. Giacchino must be in his top 5. Zimmer must be in there somewhere. Powell as well. Newton Howard, possibly. Shore, definitely. Perhaps Desplat (not sure about that one). Don't know who the others could be. You'll see I'm right about those I mentioned, though!

Obviously Morricone is number 1, and he'll probably have Johnny at #2 and Zimmer at #3. Giacchino top 5, Powell and JNH in there too. I'm not who will make the 2 mystery spots, but it won't be Desplat or Shore.....

My prediction as well. Notable for the lack of "older" composers other than Morricone.

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I like these topics where you can just copy-paste from earlier topics :)

1) John Williams

2) Erich Wolfgang Korngold

3) Jerry Goldsmith

4) Elmer Bernstein

5) Maurice Jarre

6) Dmitri Tiomkin

7) Max Steiner

8) David Raksin

9) Victor Young

10) Jerome Moross

11) Anton Profes

12) Wojciech Kilar

13) Ennio Morricone

14) John Barry

15) Sergei Yevtushenko

16) Marc Shaiman

17) Michael Convertino

18) Edward Shearmur

19) Ilan Eshkeri

20) Miklos Rosza

21) Bernard Herrmann

22) David Arnold

23) Brian Tyler

24) Andrew Lockington

25) James Horner

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Johnny, Jerry, Jimmy, Pino, JNH, JB, there are many great dead ones, no other great living ones.

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Johnny, Jerry, Jimmy, Pino, JNH, JB, there are many great dead ones, no other great living ones.

Pinocchio?

If I had a big elf sized hammer, I'd flatten you like in a tom and jerry cartoon.
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Johnny, Jerry, Jimmy, Pino, JNH, JB, there are many great dead ones, no other great living ones.

Pinocchio?

If I had a big elf sized hammer, I'd flatten you like in a tom and jerry cartoon.

Is that quote in your sig really from Jerry Goldsmith?

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Johnny, Jerry, Jimmy, Pino, JNH, JB, there are many great dead ones, no other great living ones.

Pinocchio?

If I had a big elf sized hammer, I'd flatten you like in a tom and jerry cartoon.

Is that quote in your sig really from Jerry Goldsmith?

No, its from Joey _________.

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As a committee, I bet we could put together a pretty mean top 100 list including French, Italian, British, Indian, and Japanese composers. I'm up for a prolonged debate. (Y)

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9. ALEXANDRE DESPLAT

617wv2bZRTL._SL500_AA300_.jpg51L%2Brgh1hSL._SL500_AA300_.jpg

What? No The Tree Of Life?

Alexandre - who, when it comes to film music, is mostly listening to Desplat these days

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1-John Williams

....

....

....

2-Jerry Goldsmith

3-James Horner

4-John Barry

5-Morricone

6-Danny Elfman

7-8-9-10 .Those other guys that sometimes come up with a good score like Silvestri, David Arnold, Giacchino,Poledouris,Desplat,Debney...

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Ok, I have my top ten *film* composers ready to post, waiting for a more normal hour to post it though. It's on my other device.

1. John Williams

2. Jerry Goldsmith

3. Howard Shore

4. Hans Zimmer

Etc. Powell, Herrmann, Horner, Giacchino, Newman

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I'd go...

1. John Williams (E.T.)

2. Max Steiner (Gone With The Wind)

3. Dmitri Tiomkin (Red River)

4. Nino Rota (Amarcord)

5. Bernard Herrmann (Psycho)

6. Elmer Bernstein (The Magnificent Seven)

7. Victor Young (Shane)

8. Alfred Newman (Song Of Bernadette)

9. Henry Mancini (Breakfast At Tiffany's)

10.Sergei Prokofiev (Ivan The Terrible)

I have indicated the best score of the respective composer (IMO) in brackets.

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1. Herbert Spencer

2. Angela Morley

3. Arthur Morton

4. Eddie Karam

5. Conrad Pope

6. John Neufeld

7. Scott Smalley

8. James Campbell

9. John Williams

10. Jerry Goldsmith

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You list Williams' orchestrator before Williams himself?

That is like placing Steve Bartek before Danny Elfman.

What is next? People credit William Ross for CoS?

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You list Williams' orchestrator before Williams himself?

That is like placing Steve Bartek before Danny Elfman.

What is next? People credit William Ross for CoS?

Gkgyver...it's a joke.

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