What about them? Which theme is yo favorite?
Currently, my favorite is the theme to Terminator II.
vertigo - and the citizen kane theme isnt bad either - taxi driver.......ahh fuck i just love hermann ------------- ooh, i've always loved john williams music for born on the fourth of july....
Some of my favorite original scores are...
Taxi Driver, Bernard Herrmann
BladeRunner, Vangelis
Once Upon A Time in the West, Ennio Morricone
Paris, Texas, Ry Cooder
Chinatown, Jerry Goldsmith
Lift to the Scaffold, Miles Davis
Anatomy of a Murder, Duke Ellington
Miller's Crossing, Carter Burwell
The Hot Spot, John Lee Hooker, Miles Davis & Taj Mahal
Laura, David Raskin
Quote from: mogwaiWhat about them? Which theme is yo favorite?
Currently, my favorite is the theme to Terminator II.
I got chills when I heard it on the T3 trailer
I like a lot of stuff by Mychael Danna, particularly Exotica and The Sweet Hereafter, but ESPECIALLY The Ice Storm.
And, of course, let's hear it for Jon Brion.
Uh, let's see... I always thought the Fargo theme was really fantastic, but pretty underrated. Carter Burwell has some great simple scores that often go unnoticed.
Mark Mothersbaugh's music for Rushmore and The Royal Tenenbaums is some awesome stuff that is REALLY unnoticed. I remember saying to a friend that I loved the score for Tenenbaums, and he said something along the lines of, "What score? It just had a bunch of old songs."
The original scores are undershadowed by the other songs that Wes picks to use, but I don't care. He picks some damn good songs anyway.
Quote from: children with angelsI like a lot of stuff by Mychael Danna, particularly Exotica and The Sweet Hereafter, but ESPECIALLY The Ice Storm.
And, of course, let's hear it for Jon Brion.
Hear, hear.
I would also add Michael Nyman's scores for
Wonderland and anything Peter Greenaway, and Elmer Bernstein's
Far from Heaven score.
Yeah, Nyman definitely. Also, I forgot to mention the wonderful Philip Glass, if only for his Koyaanisuatsi/Powaqqatsi scores and the contributions to the Truman show.
jurassic park- classic fav
lord of the rings- gets me going
run lola run- makes me wanna run
gladiator- makes me wanna cut people
thelma and louise- the end part
currently have the lovely score to 25th hour in my head.
yeah no. most of my friends are bigger than me so when i try to cut them they usually hit me.
:oops: :? :lol:
was waiting tables the other night and it cracked real good. its was old ppl so they didn't say anything. there is no real way to recover from a voice crack. in fact, the only way to do it is to immediately draw attention to it and make fun of yo'self.
it doesn't happen that often. i still get laid.
*sigh*
Indiana Jones
Psycho
North By Northwest
Godfather
Rocky
Beetlejuice
Cape Fear
Bram Stoker's Dracula
Blue Velvet
Twin Peaks
The Untouchables
Fargo
is anyone familiar with fanthomas? its an insane mike patton project featuring dunn from bungle, some guitarist from melvins and good ol slayer dave lombardo on drums. they did an album called the directors cut which features alot of the many songs listed in this thread in new and more 'exciting' versions.
Badalamenti's scores can be great. Loved his Mulholland Dr. score as much as what he did for Blue Velvet. Anyone ever hear of "Booth and the Bad Angel," his "band" with Tim Booth of James? He also does strings as a studio musician; I remember him being on some Pet Shop Boys albums.
I really love Pino Donaggio's Blow Out score, too.
Big Deal On Madonna Street is the score I hum for the longest after I watch the movie.
Femme Fatale has a pretty snappy score.
Life Is Beautiful had two nice themes to it.
Godfather, baby. Can't believe mac's the only one that brought it up. I was in the city the other day (New York that is) and this guy is driving behind my cab and he honks the horn and it plays the Godfather theme. it was funny as hell.
Also, I do like the LOTR score and the Magnolia score and pretty much all of Hermann's work for Hitchcock. I LOVE the Great Escape theme, and, OF COURSE Thus Sprache Zarathustra, theme from 2001. I don't think anybody else has said that and that's the biggest, baddest movie theme in history.
nevermind, mogwai said it.
grrrrrrrrrrrreat you mention the lotr theme. it deserves to be the star wars theme of the new millenium. rest of the soundtrack is is also crrrrantasick.
Snow Falling on Cedars, don't sleep.
Most all John Williams, James Horner and John Barry
i enjoy the 'waking life' soundtrack a lot, especially since after fuddling around with an accordion for a few months i see how truly impressive the accordion playing is in that film
IMO the best movie theme ever is John Williams' theme for Born On The Fourth Of July. Sure, he's done some of the most memorable themes ever like Indianna Jones, Star Wars, and Jaws, but I find this one to be the best. Dick Dale's misirlou for Pulp Fiction is a close second.
Am I the only one who thinks John Williams does way too much to be memorable and not nearly enough to be evocative or appropriate?
"Bombastic," is the word I think of for most everything I've heard of his. Let's just say if I had to choose between Hans freakin' Zimmer and Williams, I'd choose Zimmer.
Yeah... Zimmer is more moderate...not as flashy. Williams is very big and bold. I loved Catch Me If You Can, though it's not that complex or anything. And Missirlou is great in Pulp Ficition. Born On the Fourth, the main theme they use in the opening, is also one of my favorrrrite Williams themes. And what a hell of a movie too. :-D
Quote from: sphinxi enjoy the 'waking life' soundtrack a lot, especially since after fuddling around with an accordion for a few months i see how truly impressive the accordion playing is in that film
Speaking of accordions, the
Amelie score was zesty 'n fun, just right for the movie.
Quote from: USTopGun47Yeah... Zimmer is more moderate...not as flashy. Williams is very big and bold. I loved Catch Me If You Can, though it's not that complex or anything. And Missirlou is great in Pulp Ficition. Born On the Fourth, the main theme they use in the opening, is also one of my favorrrrite Williams themes. And what a hell of a movie too. :-D
i dunno, i think zimmer pulls off some crazy shit sometimes. i like him though, love his stuff with ridley scott- gladiator, black hawk down, thelma and louise.
as for williams, yeah the born on the fourth score is good. my favorite is the score for JFK, especially the conspiracy theme that plays during the opening title sequence.
I have an aversion to both Stone and Williams, so... though I'd be interested to see Born, I can't put it at the top of my list.
I love how Adaptation used the Turtle's Song "Happy Together." I'd say it is comprable to Stuck In the Middle With You in Resevoir Dogs - perhaps a little better. It was just beautiful for the ending... opening up that little bass line as he drives into the sun and then the rest following. It's great how they manage to emphasize it so much and yet never play it... drilling it in your head with so much personality. Wow... it totally complements the end in an emotional way that very little else can musically. Great way of working music into film. I'm sure there's many more films that use this same technique... though I can't think of any off the top of my head. I don't know if Wise Up would really count. Hmmmm...
Quote from: cbrad4das for williams, yeah the born on the fourth score is good. my favorite is the score for JFK, especially the conspiracy theme that plays during the opening title sequence.
I'll second that for "JFK" and give a special mention to his score for "Nixon" that is just as great.
Yes. JFK score = excellent.
Quote from: USTopGun47I love how Adaptation used the Turtle's Song "Happy Together." I'd say it is comprable to Stuck In the Middle With You in Resevoir Dogs - perhaps a little better. It was just beautiful for the ending... opening up that little bass line as he drives into the sun and then the rest following. It's great how they manage to emphasize it so much and yet never play it... drilling it in your head with so much personality. Wow... it totally complements the end in an emotional way that very little else can musically. Great way of working music into film. I'm sure there's many more films that use this same technique... though I can't think of any off the top of my head. I don't know if Wise Up would really count. Hmmmm...
It was really cool because they'd sort of mocked the idea earlier in the film as a cliche, but then they use it and it really does work emotionally. Does anything in
Adaptation have anything less than several layers, though?
I really, Really liked the score for The Hours.
The Hours score works well for the content... but I really don't think it stands out much. Phillip Glass' music is so simplistic... The Hours is just like a big bag of minor arpeggios done 200 times over. It's catchy and helped set the mood the film needed, but I really can't stand Glass. :?
Quote from: USTopGun47. It's catchy and helped set the mood the film needed, but I really can't stand Glass.
Watch koyaanisqatsi
I once attended a touring Phillip Glass performance at the Portland Art Museum for which a handful of respected filmmakers- Peter Greenaway and Atom Egoyan among them- had created exclusive films to run simultaneously. It was really very cool, but I can't say what I would've thought of it without the visuals. Maybe he's a born film composer.
Yeah, I saw that too in England... Very good - although I was rather underwhelmed with the movies. The music was predictably beautiful (I can't get enough of Glass), but the films were unsatisfactorily abstract for me - with the possible exception of the Egoyan, but I only knew what was going on there because I knew the films he was referencing (his own).
Glass though: superb. I love it. You can't criticise his music for being simplistic: that's just what he does - he's a minimalist. That's like criticising a Spielberg film for being manipulative... You either dig it or ou don't. Me: I think it's wonderful and very powerful, the repetition of simple themes, basically the same chord sequence in every piece... Mmm...
I love Danny Elfman's stuff. Couldnt imagine a Tim Burton movie without it.
Quote from: EL__SCORCHOI love Danny Elfman's stuff. Couldnt imagine a Tim Burton movie without it.
I think
To Die For and
The Simpsons (natch) are Elfman's most memorable scores/themes.
Quote from: godardianQuote from: EL__SCORCHOI love Danny Elfman's stuff. Couldnt imagine a Tim Burton movie without it.
I think To Die For and The Simpsons (natch) are Elfman's most memorable scores/themes.
NO, edward scissorhands is by FAR the most brilliant elfman score.
edit: sorry, i didn't catch the word 'memorable'. oh well, this is just my 2cents.
I agree with you though
AFI Scores With "Star Wars"
The Force is strong with John Williams.
Not only was his score for 1977's Star Wars named the number one Greatest Film Score of all time by the list-happy folks at the American Film Institute, but the music he wrote for 1975's Jaws and 1982's E.T. the Extra-Terrestrial also made the cut, coming in at number six and 14 respectively.
A jury of over 500 film artists, composers, musicians, critics and historians were tapped to determine which of the most memorable scores would be chosen for The Big Picture—AFI's 100 Years of Film Scores, a new list commissioned by the famed institute in association with the Los Angeles Philharmonic Association.
Of the movie music rounding out the top 10, a number predictably belong to some of the most beloved films ever made. Coming in at number two was Max Steiner's majestic score for 1939's Gone with the Wind. That was followed in third place by Maurice Jarre's sweeping orchestrations for 1962's Lawrence of Arabia, Bernard Herrmann's heart-piercing composition for 1960's Psycho in fourth, and Nino Rota's epic score for 1972's The Godfather in fifth.
The rest of the AFI's top ten were respectively: Jaws, John Williams; Laura (1944), David Raskin; The Magnificent Seven (1960), Elmer Bernstein; Chinatown (1974), Jerry Goldsmith; and High Noon (1952), Dimitri Tiomkin.
A who's who of the cinema's best tunesmiths were represented on the list: giants like Hermann, Steiner, Bernstein, Goldsmith, Ennio Morricone, Henry Mancini, John Barry and Alfred Newman.
The committee based its selections on criteria such as its creative impact—i.e. "scores that enrich the moviegoing experience by bringing the emotional elements of a film's story to life;" its historical significance, or scores that help advance the art form; and the scores' legacy in cinema history. The works chosen also had to be from American films.
Steiner, Herrmann, Bernstein, and Goldsmith each had two films on the list.
Aside from Gone with the Wind's second place finish, Steiner also placed 13th with the score for 1933's King Kong. Herrmann followed up Psycho's fourth place victory with his thrilling orchestrations for 1958's Vertigo, which came in at number 12. While outdoing himself with the music for The Magnificent Seven, Bernstein also etched himself in cinema lore with his stirring score for 1962's To Kill a Mockingbird, which was ranked 17th. And last but not least, Goldsmith shifted from Chinatown's murder-mystery vibe to sci-fi with his score for 1968's Planet of the Apes.
Some of the other notable composers on the list were Erich Wolfgang Korngold, whose swashbuckling score for the The Adventures of Robin Hood (1938) ranked eleventh and helped make Errol Flynn the object of every girl's desire; Franz Waxman, whose evocative music for noir classic Sunset Boulevard (1950) came in at 16 and revealed the darker side of Tinseltown; Alex North, who made his mark at number 19 with his score for A Streetcar Named Desire (1951); and Miklos Rozsa, who roused the masses with his work on Ben-Hur, which placed 21.
Mancini's beloved theme from The Pink Panther (1964) landed in the 20 spot, Leonard Bernstein's music for On the Waterfront at 22; and Morricone's classic score from 1986's The Mission at 23. Wrapping up the list was Dave Grusin's score for On Golden Pond (1981) and Afred Newman's for How the West Was Won (1962) at 24 and 25 respectively.
Here's the complete list of AFI's 25 Greatest Film Scores:
Star Wars (1977); John Williams
Gone with the Wind (1939); Max Steiner
Lawrence of Arabia (1962); Maurice Jarre
Psycho (1960); Bernard Herrmann
The Godfather (1972); Nino Rota
Jaws (1975); John Williams
Laura (1944); David Raskin
The Magnificent Seven (1960); Elmer Bernstein
Chinatown (1975); Jerry Goldsmith
High Noon (1952); Dimitri Tiomkin
The Adventures of Robin Hood (1938); Erich Wolfgang Korngold
Vertigo (1958); Bernard Herrmann
King Kong (1933); Max Steiner
E.T. the Extra-Terrestrial (1982); John Williams
Out of Africa (1985); John Barry
Sunset Boulevard (1950); Franz Waxman
To Kill a Mockingbird (1962); Elmer Bernstein
Planet of the Aples (1968); Jerry Goldsmith
A Streetcar Named Desire (1951); Alex North
The Pink Panther (1964); Henry Mancini
Ben-Hur (1959); Miklos Rozsa
On the Waterfront (1954); Leonard Bernstein
The Mission (1986); Ennio Morricone
On Golden Pond (1981); David Grusin
How the West Was Won (1962); Alfred Newman
i kind of think that list is bullshit. nothing from the '90s-present?!
if fucking jaws is on that list then i think the requiem score deserves reconition on that list with those others.
all jaws was is duh, duh, duh, duh, duh duh duh duh duh duh duh duh..duh......
i agree w/star wars being the top though
And the Jaws theme seriously rips of Dvorak.
I'd say why not some Elfman, maybe the Batman theme? I agree with Requiem. Silvestri for Back to the Future? And is King Kong just there for looks? I do agree with Star Wars though.