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I hate to post another James Horner inspired post, but here it goes. Definitely one of the major upsets about James Horner, is the fact that he was one of the last true talents of symphonic film music that had not fallen off the radar (along with 83-year old John Williams). I myself was such a fan of Horner's, that in my depression, I started going to other composers because it was too sad for me to immediately listen to his wonderful body of work. And reflecting on the work of others, there are still many very talented composers around, usually just doing kiddie movies, or low budget foreign films. So which current composers, if given a chance, could lead Hollywood into another golden age for film scoring?
My list would include David Newman, Marc Shaiman, Richard Harvey, Richard Band, Joel McNeely, Bruce Broughton, John Debney, and the up and coming Joe Kraemer, who I think will start getting many more large productions after the new Mission Impossible film.
Who would be included in your own personal list?
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Posted: |
Jul 2, 2015 - 8:26 PM
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By: |
mastadge
(Member)
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My list would include David Newman, Marc Shaiman, Richard Harvey, Richard Band, Joel McNeely, Bruce Broughton, John Debney, and the up and coming Joe Kraemer, who I think will start getting many more large productions after the new Mission Impossible film.
I'm not really sure what we're looking for here since you've listed guys who were working 30 years ago alongside one who's just getting started, but Christopher Gordon, Debbie Wiseman, James Peterson, Andrew Lockington, John Powell, Fernando Velázquez, Roque Baños, Chris Young. . .
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The problem is not IMO a lack of young symphonic composers who could potentially "step up to the plate". It's more that the film industry doesn't seem to want them. 
I remember feeling blessed over the last three Christmases that we were getting true, full-on orchestral works from Howard Shore for the Hobbit films, and I continued to be beyond grateful.
Listening to Horner's work over the past week or so only served to remind me that it didn't used to feel like finding water in the middle of a hot, burning desert.
I'm grateful to the likes of Michael Giacchino, Bear McCreary, Dario Marianelli and others for delivering orchestral scores in today's landscape.
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The problem is not IMO a lack of young symphonic composers who could potentially "step up to the plate". It's more that the film industry doesn't seem to want them.
I'd agree with that. But moreover? Just because someone can write orchestral material doesn't mean they can write a memorable tune or melody or something that sticks.
Oh, absolutely. I didn't mean to imply otherwise. But the latter doesn't seem to be high in demand either.
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William ROSS
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We still have Morricone working out there.
Current compsoers who can step up to the plate? Let me turn that around: NO current composer will step to the plate; they'll muddle around and be right where they were years ago. And if you're a current composer reading this, I triple dog dare you.
Why do I say that? Folks, we don't have to wait for somebody like James Horner to die for a current composer to step up, they could have already. It's not like James was the only major composer to die in recent years. Everybody remember Basil Poledouris? Jerry Goldsmith? Elmer Bernstein?
This will be a hell of thread. I can't see it being pretty.
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I will miss his (Horner) signature style more than anything. THAT sound that defined it as a new Horner score (for better or worse) 
Even the likes of Elfman and JNH have now co-opted the Zimmer factory ideal of farming out cues to other composers so they can complete their 4-5 projects a year.
Getting into Elfman way back when was great. Now you listen to a new score by him and have no idea that the best track on the album ain't by him (until later on).
The Music-by-Committee template has ruined things for me the most.
Talented composers above who CAN write good themes/memorable melodies (Broughton, Talgorn, D Newman, Holdridge, John Scott) hardly get any work.
Of the new(er) breed, Giacchino and Desplat offer the most interest to me.
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Getting into Elfman way back when was great. Now you listen to a new score by him and have no idea that the best track on the album ain't by him (until later on).
Although Elfman has used additional composers more than he used to for the last 10 years or so, I don't think this is entirely accurate. Can you give me an example where Elfman didn't actually write the best cue on an album?
Also, keep in mind that when there's an additional composer, it's not like that person has free reign. Often, there's a lot of guidance: the additional and the primary composer have a discussion about what the music should be for the scene(s) in question and the function it should serve. Notes are almost always given, and if the main composer doesn't like what the additional has come back with, it's not going to be played for the director.
You'd be surprised how often this has happened throughout the history of film music - likely on scores you really like with big name composers like John Williams, Jerry Goldsmith, and Elmer Bernstein - and it's a good thing. It's how younger composers get to learn and grow. I don't have a problem with it at all as long as the "additional" cues don't sound like they're from a completely different movie.
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john, I was mainly referring to Bliss from the 50 Shades CD, but quite a few of his recent scores have sounded a bit...drafted in. Certainly EPIC is full of such moments...PEABODY too.
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Now, having said what I said, we still have composers working out there -- though some in extremely little efforts now -- who have proven chops:
Dave Grusin
Lee Holdridge
David Newman
Lalo Schifrin
John Scott
Alan Silvestri (though I've only really enjoyed one score by him since 2000)
Off the top of my head.
If I were a director for one of the Disney Star Wars films, I'd seriously hire John Scott. I know -- some of you are drooling at the prospective idea now.
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