The Film Score Thread

I'm off.

Of the Zimmer scores I like his earlier stuff the best. Particularly Rain Man, Black Rain and Days of Thunder. These days he's pretty much only coasting, although tons of fanboys seem to think otherwise.

1. Bernard Herrmann
-John Barry
-Jerry Goldsmith
-Henry Mancini
-Ennio Morricone
-Lalo Schifrin

Those are probably my favorites, but I also like Dmitri Tiomkin, Miklos Rozsa, Max Steiner, any of the Newmans, Basil Poledouris, Leonard Rosenman, John Williams, Elmer Bernstein, Angelo Badalamenti, Nelson Riddle, and a bunch more. There are plenty of more obscure ones I like; Michael Small, David Raksin, Roy Webb.

1. Bernard Herrmann
2. John Barry
3. Jerry Goldsmtih
4. John Williams
5. Alex North
6. Micklos Rosza
7. Ennio Morricone
8. Leonard Rosenman
9. Maurice Jarre
10. Georges Delerue

Other favourites (in no order): Elmer Bernstein, Franz Waxman, Max Steiner, Eric Wolgang Kornold, Henry Mancini, George Martin, Michel Legrand, Frank Cordell, Lalo Schifrin, Roy Budd, Basil Poledouris, David Shire, David Raksin, Richard Rodney Bennett, Carl Starling, James Bernard, Bill Conti, Malcom Arnold, Michael Kamen, Angela Morley, Malcom Williamson, Benjamin Frankel, George Bruns, Ron Goodwin, Paul Smith, Éric Serra, David Fanshawe, Fred Steiner, Laurence Rosenthal, and Dimitri Tiomkin.

As much as I love their work, Walton, Bernstein (Lenny), Sonny Rollins, Harrison Birtwistle and Peter Maxwell Davies were excluded, since I consider them mostly concert and jazz composers who dabbled (though masterfully) in film music.

The composers who really get my juices flowing: Jerry Goldsmith, Bernard Herrmann, John Barry. Beyond that illustrious list would be many of the composers Tux just listed.

And one thing that always bugged me. Jerry Goldsmith always seemed to have a knack for working on a lot of really terrible films or major flops but he always made some brilliant score for them regardless of quality thus many of his best works would be ignored because of the films performances, some even never seeing the light of day as a soundtrack release. Some real turkeys like INCHON, LEGEND, and SUPERGIRL, but some brilliant work was made for them. In a lot of ways I think these choices really put him under the radar to an extent. I mean wasn't there some stink about the Oscars not doing some kind of tribute for him after he died?

One of my favourite Goldsmith scores is for another turkey of a film - THE OMEN III: THE FINAL CONFLICT.





Sends chills up the spine. Apparently Goldsmith broke down in tears when he saw the final cut of the movie.

A few of my favorite pieces of film music:

the REBEL one is simply divine.

Cant find that awesome part of THE BIG COUNTRY - not the main theme, but that one that plays whenever there's horses charging.

Herrmann is the man. Sadly, though, his film work wholly overshadowed a lot of his work for the concert hall, which is a damn shame (his "Moby Dick" is a knockout, and I probably prefer it to anything he did for a film).

An underrated composer is Piero Umiliani, perhaps because he scored a bunch of crappy films that no-one pays much attention to. But his music? Boy, is it neat.

Arkadin wrote:

Herrmann is the man. Sadly, though, his film work wholly overshadowed a lot of his work for the concert hall, which is a damn shame (his "Moby Dick" is a knockout, and I probably prefer it to anything he did for a film).

Agreed entirely, though that's often the case with film composers who tried to tackle both worlds. It's also the been the case for John Williams, Ennio Morricone, Leonard Rosenman, and a few others. However, none of the were as sublime as Herrmann's.

Great article on the Moby Dick Cantata, with comments from Herrmann.

Also check out his Symphony No. 1.

Bernard Herrmann wrote:

The Symphony is in four movements, each in one of the traditional forms. Its orchestration closely adheres to that of the standard 19th century symphonic orchestra with percussion instruments introduced only in the last movement, and then very sparingly.
The first movement of the symphony is in sonata form, although not rigidly so. It opens Maestoso, with the main theme given out boldly in unison by the French horns. The tempo then abruptly changes to Allegro Pesante, when the strings and woodwinds introduce a fast moving figure which is used contrapuntally against the development of the main theme. A marked contrast is afforded by the second theme, which is introduced by the woodwinds, and is pastoral in quality. This theme is then combined with the main theme, and the two are developed at some length and brought to a climax which subsides, until once again we hear in the horns, the main theme given out as in the beginning, except in a far away manner. After this, the development section begins. It may be interesting to note that this development section also includes a kind of "false recapitulation" in which the secondary themes of the first part are heard. This subsides and the true recapitulation is soon heard, with the main themes rising to an impassioned climax. The movement concludes with a short coda, during which the principal theme of the movement is given out once more, empathically, by the brass.

The second movement is a Scherzo/ It might be called a hunt Scherzo. After a five bar introduction, the horns give out a sort of fast hunting call. This theme is of paramount importance, as it keeps recurring throughout the movement, as a kind of background to the main theme of the Scherzo proper. At no time does this hunt figure ever really cease. Sometimes we hear it in the woodwinds, as though coming from a great distance. At other times it rises and overpowers the real themes. And again it is presented gloomily in the basses. The trio of the Scherzo is in the nature of a melancholy allegretto, performed mainly by the woodwinds. Its character was inspired to some extent by Milton's line from "Arcades--"nymphs and shepherds, dance no more." There is a return to the Scherzo proper, which is repeated in different instrumentation and with many of the themes inverted. But once again, throughout, the hunt calls are always present. A five bar coda featuring the timpani brings the movement to a close.

The third movement is marked Andante Sostenuto, and is in the nature of an elegy. The clarinet gives out the main theme, a quiet, brooding melody. It is immediately followed by the secondary theme theme in the flutes. After a due course of development the tempo becomes slower, as the solo trombone proclaims a new theme. This new theme and all the other themes of the movement are then developed to a climax. Finally the clarinet concludes the movement by stating the main theme once more.

The last movement is in rondo form with an epilogue. The trumpet announces the main theme, and with an abrupt change of tempo, the entire orchestra gaily picks it up. The contrasting materia used includes not only new themes, but one hears again the main theme of the trio of the Scherzo, this time transformed from a melancholy piping to a gay and exuberant tune. Also the hunt call, which figured so prominently in the Scherzo proper reappears, but it is now more of a triumphant fanfare. The vigorous tempo of the Rondo is broken only once, when a new motif is introduced. This theme, a tranquil allegretto, is introduced on the solo flute, accompanied by ancient cymbals in E. The main theme soon returns, and the Rondo continues on its way, leading to a climax in which all the themes of the movement are combined. Then, suddenly, with an abrupt change of tempo, the epilogue begins. This is marked A La Processional. The clarinets give out still another version of the main rondo theme, now transformed into a slow march, accompanied by a rhythmical pattern on the kettledrums. This seems to draw nearer and nearer, and finally rises to a triumphal climax, which brings the symphony to a close.

Arkadin wrote:

An underrated composer is Piero Umiliani, perhaps because he scored a bunch of crappy films that no-one pays much attention to. But his music? Boy, is it neat.

Talking about Italians, I can't believe I left out the legendary Nino Rota and Mario Nascimbene. Fuck me I'm useless.

Goodnight all.

We need an expanded, remastered version of this score...

(Spoilers!)

Makeshift Python wrote:

'Twould be good if someone could rescore the hallway fight from Inception to that.

Glad that Walton's been represented in this thread already. But I think my favourite work of his is Hamlet, which I can't find an adequate YouTube video for. I'm also partial to parts of the Richard III score, particularly the main theme.

More recently, I think Patrick Doyle did fine work on Henry V:

Sharky wrote:

Arkadin wrote:

Herrmann is the man. Sadly, though, his film work wholly overshadowed a lot of his work for the concert hall, which is a damn shame (his "Moby Dick" is a knockout, and I probably prefer it to anything he did for a film).

Agreed entirely, though that's often the case with film composers who tried to tackle both worlds. It's also the been the case for John Williams, Ennio Morricone, Leonard Rosenman, and a few others. However, none of the were as sublime as Herrmann's.

Yeah. I mean, Herrmann is a composer who can really sit down with the big boys. I've heard some concert work from other film composers, including Williams, and was left unmoved, though perhaps I just heard the wrong pieces.

Angelo Badalamenti's gorgeous theme for "Twin Peaks: Fire Walk With Me"...

Badalamenti was 74 yesterday. His score to Mullholland Dr is outstanding. I particularly like the Love Theme. (Ignore the amateur hour video that accompanies it.)


On the subject of great Italians, no one has mentioned Pino Donaggio so far. His score for Don't Look Now is a fine composition.

Utterly brilliant and creepy as hell.

Isham has done exemplary work. This one from The Net is a very clever melding of TR808 beats, piano and orchestra.



Nice simple melody picked out on the piano at 2:39. Far too short,alas.

I love Budd's score for Delbert Mann's adaption of Kidnapped. It hasn't been released as far as I'm aware and it's not on Youtube, so I'll have a go at uploading it myself. Great, great score though.

Kali mah, shuk dee day!



Makes me want to have an orgy.

I asked what effect that was on Who Dares Wins over at gearslutz.com, and got no replies. I know ambler's something of a synth expert, so you could help me out?

Sharky wrote:

I asked what effect that was on Who Dares Wins over at gearslutz.com, and got no replies. I know ambler's something of a synth expert, so you could help me out?

Sounds like oscillator sync to me, a feature missing from most budget synths of the time, but a notable feature of the Moog Prodigy.

Some nice choices there, Sharky. One unusually subtle theme that has lasted well is Love on a Real Train.

Just needs Barry White.




I wanna see this film so much. Is the song in the film, or just seperate? Either way, it's one of my very favorite songs.

The White Tuxedo wrote:

Yes.