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Posted: |
Dec 21, 2013 - 12:55 AM
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By: |
barryfan1
(Member)
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Obviously this is all highly subjective, and all down to individual taste and opinion. For me, it has to be John Barry. There are a few films in his repertoire that are pretty dire, but for me the music always delivers. Even things like Starcrash, Night Games and Game of Death have wonderful scores. Probably the most obscure film he ever scored, Bells aka Murder By Phone, featured his first completely electronic score. There's just something consistent in his music that is not only melodic and infectious, while serving the needs of the film, but that also causes that chemical reaction in my brain that makes me want to listen to his music because he is my favourite composer. I truly love Goldsmith, Williams, Shire, Frontiere, Hermann and others too, but for me Barry is the one who is 100%.
Mike
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Posted: |
Dec 21, 2013 - 2:56 AM
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By: |
finder4545
(Member)
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Is there someone that almost never seems to get it wrong? Does not have one clunker on their filmography? People go on and on about Goldsmith and Williams (and indeed they're awesome), but even they had their share of clunkers.
Is there someone who has never let you down?
This is a nice question, when in touch with great names, very close to that of the skeleton in the closet. A true clunker, in its entirely, when considering a score, also seems a nonsense, as within the same "clunker" score, you can find high moments.
So, if it is a question of "take or leave", in the same shape of "cancel from your collection, forever, one and only score" of your favourite composer, I have to go on the top, Miklos Rozsa, and try to track down "THE" clunker. Yes, now I'm searching...and found one. Removing the dust from the surface, I can read clearly the title: "NONE". And the subtitle is "Never composed"!
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Posted: |
Dec 21, 2013 - 6:55 AM
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By: |
mgh
(Member)
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No, I don't think any of my favorites, Goldsmith, Friedhofer, Williams, Waxman, Poledouris, Broughton, ect, have ever written clunkers. I think they always wrote scores that were appropriate for the film. I may not have liked them, but they didn't write them to satisfy their fans; they wrote them to fit the film. They were always professional, and they were always the best. An example is Goldsmith's Mr. Baseball. I hate that score, but it is perfect for the film.
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This is an interesting topic, because, when you think on it, the more creative and original a composer is, the more likely he is to cock-up on some occasion.
If your scores are all interchangeable, as in a lot of mainstream stuff these days, then the chances of any one score STANDING OUT enough to be at odds with the film, are greatly lessened.
Apart from the 'easy digital edit' thing, that's one reason why today's directors and producers are loathe to trust their creations to a composer's whim. It's risky. Blander means safer.
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I'm surprised that no annoying wise-guy has answered with something like "Denny Zeitlin" yet.
Denny Zeitlin.
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