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Original Score
Big Fish
Composed by Danny Elfman
Cold Mountain
Composed by Gabriel Yared
Girl With a Pearl Earring
Composed by Alexandre Desplat
The Last Samurai
Composed by Hans Zimmer
The Lord Of the Rings: The Return Of the King
Composed by Howard ShoreI am in search of a professional arrangement of the following Elfman works:
-Edward Scissorhands
-Beetlejuice
-NightBreedI have looked for versions at the local music shops and I haven’t found these scores. The esemble is wind symphony. Help!
I think that, based on what I’ve heard, that Big Fish might have the best score of the year! Let’s hope the Academy agrees…..
Nice work, Elfman!
-E
Is it the score of the year? I won’t listen to it until I see the film.
well return of the king is unquestionably better than big fish from what ive heard. yes, big fish is great but lets not be too biased fans. in this instance, shore should win the award.
hasn’t shore won enough awards for the lord of the rings themes? i mean, they’re ok, but those scores aren’t the kind i was able to sit down and listen to. danny elfman has always written his scores where every part is interesting and fun or inspiring to listen to. he has most certainly not received the credit that he has deserved all thse years. howard shore only really noticed when he did lord of the rings…do you think that he would have been available to score the low-budget kevin smith’s “dogma” (a great movie, by the way) if he had achieved the status that danny elfman had by that time?
Oddly enough Danny was going to write the score for Dogma, and he even invited Kevin Smith to his house to talk about the movie (a story that Kevin Smith tells in the Dogma commentary), but there was a scheduling conflict.
I think Return Of The King is the best of the three LOTR scores because it is the culmination of all the development in the score thus far. It’s beautiful to listen to. I can’t wait to hear all of Big Fish – then, and only then, will I be able to make up my mind.
Nat
AHHHH!! ENOUGH ABOUT SHORE AND LOTR! Can we all just please wait until we hear Big Fish? I mean, it’s our Danny, and from what we’ve already heard, it’s some of the better stuff that he’s composed in awhile. like more of a return to his form that we all love but a little different in a great refreshing way. rotk im sure is good, but we’ve already heard lotr enough and established it as great. can’t we just puleeeease wait?
im a big elfman fan but i really dont think shore’s recognition says he’s a good or bad composer. he’s always been a great composer, not always better then danny, but the lotr trilogy are THE BEST SOUNDTRACKS EVER. there’s nothin ‘ok’ about them. no shitty synths, and well thought out, beautiful themes. danny could never have done it nearly as well. well, not these days anyway
That’s the problem with the lotr trilogy. The only thing fans can say about it is “best blabla ever”. I personnally hate those movies (for so many reasons, i don’t know where to begin). The music is very good, and deserves its success (though in the film it’s sometimes too heavy and above all, it never stops !) but “best soundtrack ever” is just ridiculous. I’m sure you don’t really understand what those words mean.
Listen to Herrmann, Rota, Waxman, Morriconne, etc. and you’ll hear what filmmusic can be. I must say that i even prefer to listen to Shore’s The Fly than to his work on Lotr.
Apart from the fact BIG FISH or HULK haven’t been nominated – and since I didn’t hear the former yet, I can’t really complain – I’d say these Grammy nominations are overall pretty satisfying.
– CHAMBER OF SECRETS has been to me John Williams’ best two scores from the past… what ? Say, from the past hundred years. The other one being MINORITY REPORT which is splendid. Chamber of Secrets has plenty of enjoyable themes like the Fawkes one Nat pointed out. It’s an enjoyable score to listen to on its own.
– CATCH ME… I don’t know. This score falls among the John Williams scores that give me headaches when I listen to them, like 98% of what Williams did. Except the titles, it sounded rather bland within the film.
– THE HOURS : Philip Glass will never obtain enough nominations and awards that would show his true genius (I could say exactly the same of Danny’s genius though). However for those already familiar to Glass’ music there’s little new here. I’d say it’s a wonderful ‘best of’ of his music, after all.
– THE TWO TOWERS : Wonderful. This is such an awe-inspiring accomplishment. I’d say Shore deserves the Grammy this year.
– SEABISCUIT : I didn’t hear it. To me there’s nothing appealing in Randy’s music so wasn’t attracted to this score. Maybe I lost something… But then again, rather than seeing a Newman nominated… Thomas is the one who’d deserve it. FINDING NEMO is the most refreshing and original piece of work I heard this year.
– Squeezir.
Errr… Wrong topic folks ! Ryan… ready for some wiping out ? Sorry…
Squeezir.
Danny’s reaction :
“I’m pleased that Big Fish has received this recognition, and I’m happy that I was able to contribute to it. Big Fish is my tenth film collaboration with Tim Burton, and I believe it ranks among his best.”Calling the Lord of the Rings’ music the best soundtrack ever is a bit of a naive statement.
If you’ve heard some great film music from the forties and fifties you probably wouldn’t say that.
Sure the trilogy’s music is great, but Nightmare’s highly advanced leitmotiv, for example, destroys The Lord of the Rings’ music.
The thing that bugs me the most about the Lord of the Rings scores is that it’s one of those scores that nerds flock to then claim to be filmmusic fans just because they listen to that one trilogy (just like Star Wars).
Not that the scores aren’t brilliant. But I was a Howard Shore fan before Lord of the Rings, and all these new alleged-Shore fans are getting on my nerves.
For any true Shore fans out there, check out eXistenZ.
Hell, i only check out the Fly….Well, and Ed Wood. That’s all i have to say about Mr. Shore. He can keep Lord of the Rings, or whatever else…
i wouldn’t say that – contrarily, my narrow-mindedness reaches a scope that far outgrows the barriers of this type of music as a whole – it’s narrow in the respect that it dominates any desire to listen to regular music such as what’s on the damn radio! But i pick and choose the composers, i mean, don’t you?
It was that Star Wars soundtrack in 1977 that made me a film score fan for life. The one you mentioned “that nerds flock to then claim to be film music fans just because they listen to that one trilogy (just like Star Wars).” And if a few of those same people from LOTR turn into life long film score fans, then I say good for them, and I’ll gladly accept them as a part of the fold.
Of all the scores I’ve heard this year, ROTK is the best, because of how it develops themes from the first two films. But I don’t think it should win another Oscar because of the same reason. The best “original” score might very well be Big Fish (or at least I think so).
I am still a nerd, and proud of it. After all I think most people who listen to film scores who be honored to call themselves nerd, because it separates them from the mindless pop followers that don’t venture out into the non-popular aspects of the entertainment industry. Just the fact that something like the score to Star Wars or LOTR can bring people around is proof enough that the music is successful (with or without an award).
Nat
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