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An easy and obvious one IMHO.
Christopher Young - Brian De Palma
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Ridley Scott -- John Barry
Technically they did collaborate -- on a Kodak ad -- but I'd love to have heard John Barry score some of Scott's actual films. Apparently Barry was slated to score 1492, but apparently it didn't work out.
I certainly think Someone to Watch Over Me, Black Rain and White Squall would have been better films with John Barry scores.
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Ridley Scott -- John Barry
Technically they did collaborate -- on a Kodak ad -- but I'd love to have heard John Barry score some of Scott's actual films. Apparently Barry was slated to score 1492, but apparently it didn't work out.
I certainly think Someone to Watch Over Me, Black Rain and White Squall would have been better films with John Barry scores.
I concur. The scores to these films were rather weak. On the other hand, I suspect that Ridley Scott would have made a dog's breakfast of it one way or the other.
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Ridley Scott -- John Barry
Technically they did collaborate -- on a Kodak ad -- but I'd love to have heard John Barry score some of Scott's actual films. Apparently Barry was slated to score 1492, but apparently it didn't work out.
I certainly think Someone to Watch Over Me, Black Rain and White Squall would have been better films with John Barry scores.
Totally disagree. 1492, Black Rain and White Squall all have very good scores. Especially Black Rain would never had worked with Barry.
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The duo of Ridley Scott and Terry Rawlings is something I wouldn't wish upon any composer.
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Regarding Ridley Scott and John Barry, let's not forget the composer's kindness to a student director who sought a score for his short 1962 film, Boy and Bicycle. Scott wanted to use a piece by Barry called "Onward Christian Spacemen," but Barry gave him a new performance of the piece by recording it at the end of one of his recording sessions.
According to Hans Zimmer in his Time Magazine Obituary on John Barry, noted that Scott told him he used to hang out whenever Barry was recording.
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Here's one I would have loved to see.
Hitchcock - Herrmann from 1967 to 1976
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I wish on a couple of Roman Polanski films that there were other composers than the ones chosen.
Repulsion is about a phobic young woman terrified of men to the extent of murder. To my thinking, a music score by a British serialist such as R.R. Bennett, Wilfred Josephs or (perhaps most appropriately) Elisabeth Lutyens would yield quite a difference from what was ultimately provided by Chico Hamilton.
When Polanski made What? for producer Carlo Ponti, Claudio Gizzi was selected to make a classical pastiche score. What? - indeed - would this movie be like with commentative incidental music by a Carlo Savina or Armando Trovajoli instead?
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Christopher Nolan and Elliot Goldenthal
Just imagine The Dark Knight Trilogy, The Prestige or Inception with Goldenthal's music.
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I wish Chris Bacon and Thomas Wanker has worked tougher, that way the music credit could read:
Music by
Bacon/Wanker
Okay, seriously though. Seth MacFarlane had wanted John Williams to score his space series "Cosmos", but Johnny became too busy. Now that season four of "The Orville" is a go, if Johnny is still alive and willing...
Some good ones already covered so far. I'd add that on top of Goldsmith for a James Bond film, what about Horner? Or back in the 1970's/1980's, John Scott.
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Bacon/Wanker
Now there is something even I am not familiar with.
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Bacon/Wanker
Now there is something even I am not familiar with.
You're not? Everyone knows at least one wanker, several of them usually.
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There are many, but one collaboration I wish had CONTINUED was Altman-Williams. They did manage a handful of TV episodes, a short and two feature films, sure, but it had so much potential to grow. I think Williams would have bloomed while working for more arthouse-centered directors, like Altman.
Please elaborate.
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