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Morricone and Carpenter & Howarth on The Thing.
(And then Carpenter & Howarth on more or less everything else, less Carpenter & Walker on EFLA.)
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This is its own can of worms, but what about musical films, particularly adaptations of pre-existing musicals? "Chicago," for instance had a Broadway score by Kander and Ebb, but also incidental underscoring by Elfman.
Here's another category that might be good for its own thread: pre-existing underscoring that was re-used in different films. "Zorro, the Gay Blade" had a score by Fraser which was adapted from Steiner's "The Adventures of Don Juan." Another complication: the love theme from both scores is from the classical repertoire, Turina.
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My recent FANT4STIC post got me thinking about this.
Oh, easy, easy.... granted, it was pretty good, but FANTASTIC? Pretty good though, pretty good...
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Two different movies called Bolero.
One from the early 80s, scored by Michel Legrand and Francis Lai (Legrand arranged and conducted).
The other from later in the 80s, credited to Peter Bernstein, but Elmer Bernstein also scored one or two cues.
George Fenton collaborated with Ravi Shankar on Ghandi, and Jonas Gwangwa on Cry Freedom (Fenton, being enormously adept at ethnic music, actually composed more of each of these scores than many people realize).
Apocalypse Now was credited "Music by Carmine Coppola and Francis Coppola", though I am skeptical of how much music Francis actually "composed". Coppola the younger has never written any other music that I know of (and certainly didn't score any of his other films). It's possible Francis closely supervised his father's contribution to such an extend he felt he was "co-composing" the score. Either that or he composed a bit of the music, like maybe "Nung River" (which is not up to the standard of the rest of the score). Apocalypse Now also had additional cues and "ambiences" composed by The Rhythm Devils (a percussion ensemble consisting of several members of The Grateful Dead).
The NeverEnding Story contained music by Klaus Doldinger and Girorgio Moroder, though this was a "partial score replacement", not a collaboration.
And your thoughts as well. Does one movie really need two composers?
I would say in general no. In many cases it is not an artistic choice but sometimes a result of logistics (like the initial composer not having enough time), or a studio deciding the film needs something more "commercial" or "ear catching" in some scenes, or a whimsical director changing his mind about the music late in the game, etc.
I made a short a couple of years ago, and my composer (the magnificently talented David Coscina) had to depart the project owing to increased hours in his day job, so I tracked the film with what he'd given me so far, and then filled-in the few remaining blanks with cues of my own (which weren't, I admit, particularly good!).
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Elmer and Peter Bernstein collaborated more times than Bolero -- Rough Riders is the best, with Elmer contributing a theme and a few cues...and then there's Wild Wild West which was a reverse situation with Peter contributing a few cues.
And Jerry and Joel Goldsmith also collaborated more than once; oftentimes Jerry only contributed a theme (H.E.L.P., Brotherhood of the Gun aka Hollister) or conducting (The Untouchables), but one of their most famous collaborations was more involved, with Joel contributing a substantial portion of the score to Star Trek: First Contact.
Yavar
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Everyone knows 'Battle of Britain' was scored by Walton before Goodwin, but in fact Walton's bits were substantially shared with Malcolm Arnold in collaboration.
Elmer Bernstein wrote just the title theme for 'Arthur of the Britons', but Paul Lewis extensively scored it. Both excelled.
The War Lord was mainly Jerome Moross, but Hans Salter took over near the end.
Mellin and Reverberi for the 'Robinson Crusoe' TV series.
Lavagnino scored Welles's Othello, but Bergeris was also credited, I gather for some minor contribution.
Rozsa and Addinsell on 'Beau Brummel'?
Rozsa and Skinner on 'Naked City'.
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Dare we mention Herrmann and Chris Palmer on Taxi Driver?
Or of course Barry and Norman?
Tin hats on.
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Apocalypse Now was credited "Music by Carmine Coppola and Francis Coppola", though I am skeptical of how much music Francis actually "composed". Coppola the younger has never written any other music that I know of (and certainly didn't score any of his other films).
I don't know the details, but he was reputed to have written musicals when he was the boy wonder of the Hofstra drama department, as an undergrad. It would be interesting to know if any music sheets survive, or if anyone catalogued this work. I know bootleg recordings do exist. There's a thesis in here somewhere, somebody.
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