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Did Arnold and/or Jones both have a different career in mind all along? They created some
excellent work for films I thought.
Firstly, Arnold's been dead since 2006, so chances for new film scores are very slim indeed.
Arnold had to face major personal problems all his life. He'd always been a difficult person (brazen alcoholic, physically and psychologically abusive of his wives, fornicating with everyone in view, battling the BBC under William "Le Terreur" Glock over commissions, cursing everyone around him when he saw fit). In the second half of the 1960s these problems spiralled out of control, resulting in several suicide attempts, many stays in psychiatric wards, including electro shock treatments which temporarily destroyed his composer abilities, a divorce, critics who were systematically thrashing his works, more alcohol, etc). By the late 1960s he was no longer able to just churn out the melodies for film scores at the rate he used to, and as he was very unpredictable both personally and professionally, film producers could no longer deal with him when being faced with deadlines.
Arnold continued to write concert works, but not as many as before, and by the early 1990s his talent was virtually gone, so his publishers finally refused to commission new works from him.
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As for the rest -
BRUCE BROUGHTON - very sad indeed. Thank you, Hans Zimmer!
QUINCY JONES - too old and too rich to care for the pressures of film music
DON DAVIS - yes, weird. With the buzz from The Matrix movies he seemed dead set on a long and successful career
ELLIOT GOLDENTHAL - let's not forget he has always been first and foremost a concert composer. Same goes for his teacher, John Corigliano.
BILL CONTI - I think the negative buzz on all of his "homages" to other composers might have had an impact on his later carerr
FRANCIS LAI - thank God. Don't miss this master of muzak.
ARTHUR B. RUBINSTEIN - I think he's very happy conducting classical concerts, e.g. with his Symphony in the Glen - http://www.symphonyintheglen.org/
JOHN SCOTT - I wish I'd be as productive and agile at 82. He's been doing some silent movie scores in recent years, and enjoys conducting.
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Trevor Jones
Elliot Goldenthal
John Corigliano
what's with Philip Glass?
Glass scored things all the time. His IMDb filmography isn't always kept to date, but it's mostly complete.
Broughton scored one film in 2011, "Dough Boy".
I get the impression Corigliano can take it or leave it and isn't actively pursuing scoring. He's only had tow film scores, a third rejected, and passed on about nearly a dozen over the years, to concentrate on other things.
It's a shame David Shire doesn't get more work. In mid 2009 when I asked him in an interview about scoring projects, he said:
"Unfortunately no film work on the worktable at present, but I'm super busy and happily so with my theatre projects. I'd love to do some more films, my agent keeps submitting me, and we'll see. I can't imagine ever voluntarily retiring. I enjoy it too much."
There was another interview somewhere around that year where he said he was wanting work, but the phone just doesn't ring.
Hollywood is too busy hiring Trent Reznor, Atticus Ross, and Ramin Djawadi, apparently.
There's some talented people who've mostly worked in film that have also fallen to the way side, that I'd love to hear mroe from and getting bigger, better projects, including:
Velton Ray Bunch
Dennis McCarthy
David Bell
Jay Chattaway
Stephen Graziano
Nan Schwartz
Jan Hammer (seems he could easily make a comeback with the type of scoring some films are getting these days)
Don Peake
Stu Phillips
and many more I'm not remembering the names of at the moment.
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Another major disappointment is Richard Band, who hasn't written a good score in well over 20 years.
I seem to recall reading somewhere that he voluntarily moved away from film scores as he got sick of the process and prefers TV and commercials now.
I have no idea where I saw this.
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