Close to 100%: Rozsa Herrmann Korngold Bernstein North William Walton John Corigiano Waxman
Just curious...what scores from those composers (especially Korngold) make them less than 100%?
Corigliano seems rather impossible if you're talking about his film music...if you dislike just one of his scores he drops considerably away from 100%.
Close to 100%: Rozsa Herrmann Korngold Bernstein North William Walton John Corigiano Waxman
Just curious...what scores from those composers (especially Korngold) make them less than 100%?
Corigliano seems rather impossible if you're talking about his film music...if you dislike just one of his scores he drops considerably away from 100%.
I guess I would include the "close to composers" in my 100% group or pretty close.
Alfred and Thomas Newman are also runners-up. Barry doing Bond as well. Barry's non-Bonds are frustrating for me: like watching a sports car revving up its engine and going nowhere.
Barry doing Bond as well. Barry's non-Bonds are frustrating for me: like watching a sports car revving up its engine and going nowhere.
Nah ... more like: the best Bordeaux or --- wines: the JB007 scores are the aroma which pull you in ... the other scores are the lovely flavour, the enticing taste, the feeling of satisfaction as you take each sip ...
My really really favorite composers (Bernstein, Rozsa, Goldsmith, Broughton and a few others) are batting about (to use your choice of phrasing) 80%. Face it, all of them have their "phoned in" scores, when time was short, the movie was a clunker, and nobody (they thought) was really ever going to notice that the themes sounded a whole lot like ones written for some other past score. The great ones rise to the occasion when a terrific score is needed, and also do nice (if not necessarily memorable) work for most of the rest. 80% quality work is pretty great IMO.