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We all know Elfman is #1, who’s your #2 favorite composer? I have trouble with this… I like many, even though none of them match the reasons I like Danny. I think I’d have to go with Howard Shore. Very subtle indy quality even in his big budget scores. Very upset he’s not doing Kong, he’s quality!
If Living?
John Williams. He’s one of the only one’s left who does it the old fashioned way: with pencil, paper, a stop watch and a metronome. It still blows my mind how many movies he’s done this year. He’s in his seventies and doing more movies than ever. The man has a definite style of composition and writes memorable themes. Also, he’s humble.
If Dead though?
Bernard Herrmann. Enough said. He influenced EVERYBODY.
I know I may get some fire on this one, but I’m going with James Horner. Most of his scores have a very comforting quality to them, even with tragic thrillers like “Titanic” and “Apollo 13.” His more recent works haven’t really been like his ’90s scores, but “The Legend of Zorro” brought back some of that magic and “Troy” felt very heroic. I’m really upset that he left “The Da Vinci Code” and went instead for “The New World,” but nonetheless I expect a great score to come from the latter and a “dece” from Hans Zimmer on the former. He’s also signed on for the new Oliver Stone 9/11 movie alongside John Wiliams, which is sure to have a magnificent score. As for my favorite Horner scores, they have to be “The Rocketeer,” “The Mask of Zorro,” “Apollo 13,” “Mighty Joe Young,” and “The Perfect Storm.” Rest assured, Danny Elfman is still my favorite composer, but I really do enjoy Horner’s works, and I was a fan of his music before I was even a fan of film music in general..
I meant alive… I think Herrmann would be an obvious second choice, especially for most people here. But I generally meant alive and active in the field.
Willliams… I dunno. He’s fantastic, but he gets the respect he deserves a little too easily. Maybe it’s because he’s been so well established before I was even born… but I always lean towards those who I’ve been able to see earn it by others around them. Williams is good…. but he still doesn’t write complete scores like many others I enjoy. He tends to overpower a movie so that you know you’re listening to him… instead of conceding to what the true needs of a scene is. His themes, however, are another story. Very memorable, very powerful, and of course with the points you mentioned with regards to his process and age, he definately deserves a nod.
Well there’s one guy who’s been very impressionable with me since I was a kid, long before Danny was scoring the big films. John Williams. Star Wars, Superman, E.T. Those are still my favorites of his, and always impressive. In War of the Worlds I really liked his simple rhythmic tripod motif, it was so mysterious, menacing and cool.
Another big favorite of mine is Akira Ifukube who scored most of the Godzilla films and other Toho Eiga Kaiju monster movies. I watched the first movie several years ago and his themes kicked ass. He’s a big part of the reason I got addicted to Godzilla, there’s all this great music, and like Elfman he did some of the coolest marches ever. His music can be very infectious and thrilling, then he’s also got some extremely beautiful themes as well. Godzilla’s themes alone range from the heroic march and the destructive rampage, to the very compelling tragic themes. In Mothra vs. Godzilla’s Sacred Springs scene there’s one of the loveliest laments I’ve ever heard. I’m talking emotion and melody as exquisite as Duke Ellington’s Black Beauty.
There are some other composers I really like: Bernard Herrmann, Jerry Goldsmith and Max Steiner. Elliot Goldenthal and Marco Beltrami I’m always interested in. Then there are also composers who’ve done a few things I really like.
James Horner’s Rocketeer is another one of my old tapes that got played thin. Still one of my favorites, and a great movie. Howard Shore’s first Lord of the Rings score was awesome. His Silence of the Lambs was one of the first scores I ever owned on CD, still have the cardboard box for that and Danny’s Darkman. Elfman’s Red Dragon score sometimes evoked Silence of the Lambs for me, they’re very compatible.
Actually, Elfman is my #2 (please don’t shoot me). Has been for awhile now, I am just not getting as much out of his music as I used to. #1 is actually James Newton Howard. Ever since I heard the score for Restoration I have been obsessed with his music, and other scores just really got to me like Snow Falling on Cedars and The Village.
Now, I’m not saying that Elfman has gotten any worse or any better as time has gone on, it’s just to ME, I’m not as “moved” by his newer scores (since about… The Hulk). Hopefully that will change soon.
Knight
I’m going with Bernard Herrmann. I love Jason and the Argonauts (Scherzo Macabre = one of the best action cues ever), The Day the Earth Stood Still (love the theremin), The Trouble with Harry (I can’t really describe why I like it other than it’s just plain beautiful…and sometimes is funny “Bum bum BUM bwaaaa”), and Vertigo is probably my 2nd favorite film score ever, only next to Batman.
Sometimes overpowering a movie is what makes Williams’ scores memorable. If he didn’t beat us over the head with his themes he probably wouldn’t be so popular.
Ever since I heard the score for Restoration I have been obsessed with his music, and other scores just really got to me like Snow Falling on Cedars and The Village.
Now, I’m not saying that Elfman has gotten any worse or any better as time has gone on, it’s just to ME, I’m not as “moved” by his newer scores (since about… The Hulk).
You liked the music in The Village better than Corpse Bride? Heavens.
This is exactly my point. Danny doesn’t have to do that to make his themes fit the movie perfectly. He accentuates the movie experience with his work… others just give you an individual experience with their music. Danny gives you both.
Blasphemy! James Newton Howard comes up with a memorable theme every once in a while, but mostly his scores are the same stagnant chords, re-orchestrated. Any musician worth their training can do that. His score for “Unbreakable” was worth note, but they are all so derivative.
As an exception, I’ll offer “Peter Pan,” which I think is Howard’s one stand-alone, standout score.
Jeeze, come on people, music is SUBJECTIVE! Yes, to me, the Villiage was better than the Corpse Bride. I love the piano theme but I didn’t really like what Elfman did with it and I didn’t like the songs very much (which was REALLY surprising as TNMBC is the ONLY musical I have ever liked). But that is just my opinion.
And BLD, are you saying that NO film composer ever retools something he has written before… or for that matter anyone who writes music? Here is some research material if you would like to hear a couple composers who have REALLY just reorchestrated their scores:
Brian Tyler – Children of Dune / Bubba Ho-tep
James Horner – Bicentennial Man / A Beautiful Mind (which was nominated for an academy award no less)Using various devices / orchestration / tricks / ect. is all part of a composer’s style. I have no idea where the “same stagnant chords” thing is coming from. Oh well,
Knight
Elfman is actually my number 2, even though I don’t like to reduce film score fandom to a sporting event. But John Williams is my biggest favourite, followed by Elfman, Goldenthal, Goldsmith, Zimmer, Poledouris and others.
I much rather like to see the idiosyncracies of each individual composer rather than compare them with criteria that don’t match each other.
All right, Knight, let me try to explain what I meant. I say all this from a compositional standpoint.
There are some composers, like John Williams, Nino Rota & Thomas Newman
who approach film scores like classical pieces of music, using rigid form and theory. They write very complex parts not just for their themes, but for the entire orchestra.Composers like Danny Elfman, who don’t have that same education, have learned to do the same sort of complex composition, but without the formal structure, and he makes it way cool, as I assume you’d agree (since you are a member on this site).
James Newton Howard is in that group with Hans Zimmer and James Horner, where the composers are very, very good at creating a feeling, or a mood with their music. I will admit that if I listen to “The Sixth Sense” or “Signs,” I get the willies and turn on every light in the place. However, in terms of impressive orchestral composition, these guys don’t cut it.
Every composer has their own voice, their own style, which makes them recognizable and attracts people like us to them as fans. All I’m saying is that from a compositional standpoint, Howard is not that impressive. I don’t say this as an opinion; he’s just not the writer John Williams is. He creates very effective soundscapes, yes…but they’re very simple ones.
Personal taste is totally different. I wouldn’t dream of commenting on someone’s taste, this is only about the musicality of it.
That was my point, I apologize for ruffling feathers. Peace.
I love the piano theme but I didn’t really like what Elfman did with it…
You didn’t like what Danny did with the main theme?
I haven’t been a big fan of Howard’s less bombastic scores. It was “Dinosaur,” “Atlantis,” and “Signs” that won me over, though “Batman Begins” took off some points in my book. I’m curious about what he’ll have for “King Kong,” and I’d listen if the movie were about an hour less.
I love John Williams, and he’s probably 2nd favorite. Yeah, he does get his ass kissed for just about every bloody movie he scores (and many don’t deserve it at all), but he has written some of the most memorable and classic themes I’ve ever heard. The Jurassic Park score was my favorite when I was 7, and it’s still one of my top favorites, rivaling Elfman’s works. The themes are just brilliant.
Oh god, someone asked for my opinion!
I suppose it’s a good thing no matter what when you form an opinion of someone’s work. Of course it’s all subjective but here goes:
I don’t know if Danny is my number one, but he’s up there with Williams in my book. But it’s different. I think because of Danny’s “lack of formal” training he thinks outside of the box and produces some incredible stuff.
I guess I respect all composers but I got tired of Horner’s rehash a long time ago. With that said I love the Rocketeer and Glory.
I like Shore too, he’s done some really freakin great stuff on the smallest scale to the biggest. Cool.
Newton Howard I don’t think I’ve ever really like anything he’s done. The Village is ok, but ALL the rest of it sounds like orchestrated atmospheric synth shit.
I like some projects Zimmer has done, but more than anyone, his quality is uneven. And he’s left himself open to the purist’s criticism because he has established this factory with 30 composers working on the staff. I don’t quite get it. But Gladiator and Thin Red Line, and other are great stuff.
I have always loved Wojciech Kilar and just wish he had done more american films.
I don’t think enough people mentioned Goldsmtih (although recently deceased), Planet of the Apes RULES.
And then there Goldenthal…who I think ranges from Brilliant to Crappy. Titus is just great, as with michael collins. But then there’s SWAT.As for the John “I score 20 films every year” debney…I just don’t get that either. What all the composers I respect have in common is somehow communicating to the listener something profound (enough) to make believe what they are trying to accomplish is actually art.
At least we managed to squeeze out a robust and long thread about “number twos” without anybody soiling it with toilet humor. If you squat down and just enjoy the reading material here, by the time you finish it’s very satisfying. I appreciate what everyone has left here even though when I look at it I can see our tastes are different; and maybe some are even a little nutty or twisted. It’s natural, we’re only human.
Hans Zimmer. I really liked Gladiator and still love that score, but hated Hannibal and Batman Begins. I still haven’t seen or heard King Arthur yet. Fans feel very passionately about their favorite composers and James Newton Howard is one who hasn’t really captivated me, so I can’t relate to some people’s enthusiasm for him. But I did like Signs. I’m not sore about having king Kong in my collection, I mixed my favorite parts into a 15 minute suite and have really liked that version, but the album is fairly weak. Since the movie is three hours long it will be interesting to hear the rest of the music.
One guy who I used to really like was Alan Silvestri. Predator kicks ass. But he doesn’t do many projects I’m interested in.
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