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Who Is Composing Which Scores This Summer (And Beyond)?? The ScoreKeeper Knows!!

Merrick isn't sure what to make of neither Elfman or Clausen scoring THE SIMPSONS MOVIE...

ScoreKeeper sent in a new report about this Summer’s upcoming film scores…and beyond.

You know, when I think of the composer most capable of replacing Jerry Goldsmith on THE OMEN redux, I can think of nobody better than…Marco Beltrami!

I’m kidding.

Although, to be fair, Beltrami’s work has improved dramatically in the last few years – yet nothing in his portfolio would make me think “Goldsmith substitute!” But THE OMEN remake is a Fox film, so logic and sensibility don’t necessarily apply.

Here’s ScoreKeeper…

Greetings! ScoreKeeper here and on the prowl for what’s in store for film music fans in the future.

Is it just me or does the summer movie schedule seem a tad on the bland side? There aren’t many upcoming scores that I’m clamoring to hear outside of a few mild exceptions. Good and bad film music years seem to alternate so after a better than average year for film music in ’05, I guess we can’t be too optimistic about a great ’06. So let’s look at the summer line-up and even push ahead into ‘07 to see what’s around the corner.

One of the more highly anticipated films of the year is, of course, SUPERMAN RETURNS, which will be scored by Singer faithful John Ottman, who will be editing the picture as well. The thought of Ottman using John Williams’ original 1978 Superman theme has me terrified. A legendary theme in the hands of a composer who did not compose it will have a hard time shaking off that cheesy sequel smell. I’m almost wishing that if John Williams isn’t scoring it, then leave his themes alone.

Speaking of faithful, let’s round-up the usual director/composer relationships and get those out of the way. James Newton Howard will be scoring M. Night Shymalan’s LADY IN THE WATER, James Horner will pen Mel Gibson’s APOCALYPTO, Pixar reunites with veteran tune-smith Randy Newman with CARS, Carter Burwell rejoins the Coen Brothers on HAIL CAESAR, and Martin Scorsese seems to be trying to form a long-term relationship with Howard Shore who will score THE DEPARTED. Since we’re on Howard Shore, let’s not forget to mention that he’ll reunite with bestest buddy David Cronenberg on his new film, MAPS TO THE STARS, marking their twelfth collaboration in the last 27 years.

In case it hasn't been heard around the world, everyone should be aware that Danny Elfman will not be scoring SPIDER-MAN 3. Considering the amount of heat he weathered on this very site for the first two scores, that may be welcome news. Instead Christopher Young will take the podium to wrap up the trilogy.

So what is Danny Elfman going to score? Well, now that he’s wrapped up his first IMAX film, DEEP SEA 3D, the next batch of cues we’ll get to hear from the ex-Oingo Boingo front-man is NACHO LIBRE, followed by CHARLOTTE’S WEB. Since Elfman is one of my favorite composers I have to say I’m intrigued to see what he does for CHARLOTTE’S WEB. If anything it gives me a reason to see the film.

OK, which of these statements is more absurd?

A). Tom Hanks will be voicing Homer Simpson in the upcoming Simpsons movie
B). Hans Zimmer will be scoring the upcoming Simpsons movie
C). Harry Knowles will be a celebrity guest in the upcoming Simpsons movie

If you’re having a hard time figuring it out, don’t fret. What you should be concerned with is the fact that one of these statements is actually true. The answer? B). Hans Zimmer will be scoring the upcoming Simpsons movie. Since the second season of “The Simpsons,” composer Alf Clausen has been the musical genius behind one of the most successful shows in television history. I have always been a humongous fan of Alf Clausen and have attributed him as one of the main forces behind the show’s heralded success. At the very least, if they wanted a big named composer attached they should have approached Danny Elfman. After all he wrote the theme (one of the greatest television themes ever). Maybe they did, I don’t know. But hiring Hans Zimmer to score the new Simpsons movie is akin to getting Tom Hanks to voice Homer. Blasphemy!

So what other scoring notables are there to look forward to (or not)? Satisfied with having the first movie sound like Hans Zimmer, the producers of PIRATES OF THE CARIBBEAN 2 decided to go for the real thing the second time around. Christopher Young will be scoring GHOST RIDER, rising newcomer Michael Giacchino will helm the new Disney animated film, RATATOUILLE, Patrick Doyle will score ERAGON, Marco Beltrami will follow the late Jerry Goldsmith in scoring the next addition in the Omen quintilogy, OMEN 666, and Angelo Badalamenti will create his magic on the remake of THE WICKER MAN.

So what about John Williams? Well, after scoring four mammoth scores last year (WAR OF THE WORLDS, STAR WARS: EPISODE III, MEMOIRS OF A GEISHA, MUNICH), John seems to be taking a well needed break until Spielberg needs him for his upcoming Abraham Lincoln film.

One of my other favorite composers, Thomas Newman, seems to be taking some time off as well before he starts up on YOUNG HANNIBAL: BEHIND THE MASK.

All in all not really a terribly exciting near-future for film music fans but there is enough there to at least make it interesting. There’s definitely plenty of opportunity for a diamond-in-the-rough or a virtual unknown to make a splash this year. Michael Giacchino popped onto the scene in 2004 with THE INCREDIBLES, his first big Hollywood film score, and created what I still think is by far the best score of that year. Maybe 2006 will offer us another unexpected masterpiece?

ScoreKeeper didn’t mention Klaus Badelt’s score for POSEIDON, a screening I missed last night (apparently luckily, from the sound of it) . Badelt scored the first PIRATES OF THE CARIBBEAN film, and did a pretty lovely job on the sincerely unfortunate TIME MACHINE remake as well.

Thanks a ton, ScoreKeeper! We really appreciate the article…

Readers Talkback
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  • May 9, 2006, 6:16 p.m. CST

    Hans Zimmer is the best composer.

    by ssr12

    Joh Williams and James Horner are great too.

  • May 9, 2006, 6:26 p.m. CST

    you're joking, right?

    by filmicdrummer17

    All three of those guys are so ridiculously self-plagarizing...Neither Horner nor Zimmer has turned out a decently inventive, or even good, score in years. IMO, the best composers out there right now are Giacchino, Newton Howard, and Thomas Newman.

  • May 9, 2006, 6:27 p.m. CST

    Doesnt surprise me at all.

    by moondoggy2u

    Hans Zimmer: will compose for food.

  • May 9, 2006, 6:28 p.m. CST


    by iamnicksaicnsn

    Hans Zimmer for the FUCKING SIMPSONS??? FUCK THAT!! And Danny Elfman's the man, when he's on fire he can create some of the most beautiful music... Long live Oingo Boingo!

  • May 9, 2006, 6:30 p.m. CST

    as an addendum...

    by filmicdrummer17

    John Williams is still the master of evoking, and of creating mood and atmosphere, but has long since lost his touch for writing memorable themes that made him such a superstar in the 70s-80s.

  • May 9, 2006, 6:37 p.m. CST


    by Holodigm

    you hate on williams zimmer and horner for re-using their stuff, but yet you praise thomas newman? he's just as bad as williams in that category. not to say i don't like newman, i like him a hell of lot, but to imply he's not repetitive is retarded. compare american beauty to pay it forward. compare the six feet under theme to road to perdition. he re-uses like a motherfucker.

  • May 9, 2006, 6:40 p.m. CST


    by filmicdrummer17

    Good point about Newman--you certainly caught me in a hypocrisy. I think just the difference is that while Newman will often reuse musical ideas, he is amazingly consistent at delivering a kick-ass score. It's really just a case of personal preference for me. If you'd like to replace him in that top 3 list with Danny Elfman or someone else, be my guest.

  • May 9, 2006, 6:46 p.m. CST


    by Britshit

    I think Lisa Gerrard is hugely underrated in the composer category, i've never failed to love her work, Layer Cake had an incredibly diverse soundtrack, also the work on Heat's endtheme has always been one of my favourites, Ali i think aswell?. Still John Williams...Jaws, Jurassic Park, Star Wars.....the man is part of film history

  • May 9, 2006, 6:52 p.m. CST


    by ssr12

  • May 9, 2006, 6:54 p.m. CST

    Neat. Can't wait for this summer's KEY GRIP ALERT

    by Karl Hungus


  • May 9, 2006, 6:55 p.m. CST

    What about David Holmes

    by Vern

    He's trying some new shit out. OUT OF SIGHT, STANDER, the OCEAN'S pictures (especially the second one had a great score). I guess he did ANALYZE THAT also but come on, I'm not gonna watch that. I would say RZA too but it's starting to seem like GHOST DOG was a fluke. I like those orchestra guys too but nobody ever gives credit to the people who are exploring other territory. Anyway if you guys are talking greatest living composers, how about ENNIO FUCKING MORRICONE. You can't top him. And for number two I gotta go with Lalo Schifrin. ENTER THE DRAGON, DIRTY HARRY, MISSION:IMPOSSIBLE, THE BIG BRAWL, BULLITT... damn, you talk about memorable theme songs, this is the guy. As for John Williams, I think he repeats himself too much these days but I gotta admit both MUNICH and WAR OF THE WORLDS were really good, I didn't know it was him for sure until I checked the credits.

  • May 9, 2006, 6:56 p.m. CST


    by Holodigm

    sorry about calling you retarded, that was harsh. also, not to be a pest about it, but you can even cite elfman as being repetitive. with a couple exceptions, he always has that motif of arppeggios spiraling down. ang lee asked elfman for a specifically "non-elfman" score for hulk, which i think he for the most part succeeded highly at. but yet in the intro my friend and i could still hear that downward spiral, and we laughed our ass off. but like newman, i love the guy. i guess you could say the same for most composers - admittedly, i know i couldn't come up with original music after 50 films. i dig gregson-williams a lot, but he certainly re-uses. the only two i can think of offhand that don't (and are still alive) are newton howard and giacchino, but i certainly attribute giacchino's uniqueness to still being a relative newcomer. i almost said howard shore until i remembered how hobbit-y the small-town theme for history of violence was.

  • May 9, 2006, 6:56 p.m. CST

    John Williams should have done Superman Returns

    by ssr12

    I wonder if Brian Singer even bothered to call Williams to offer it to him. Having his pal Ottman score it is so stupid. Nobody could have done it better than Williams, who is still working and available and there is no reason that he did not do it.

  • May 9, 2006, 6:57 p.m. CST

    Whose scoring the Transformers? or Casino Royale?

    by R.C. the "Wise"


  • May 9, 2006, 6:59 p.m. CST

    Howard Shore is a chameleon

    by jbum

    Some composers (Zimmer and Elfman to name two) often plagiarize themselves. Howard Shore's scores, on the other hand, display a remarkable amount of variety. The guy's a chameleon. Compare the following, all by Shore: Crash (The Cronenberg film) Ed Wood LOTR Mrs. Doubtfire He's the musical equivalent of director Robert Wise (another chameleon).

  • May 9, 2006, 7:01 p.m. CST

    to clarify:

    by filmicdrummer17

    Hey Vern, you're absolutely right about Morricone (The Good, the Bad, and the Ugly is one of my all-time faves), but point i was making up top was about the best composers currently working, as in, who can be relied on TODAY to put together something great. Obviously, I mean no disrespect to Williams, as he IS a part of film history. Holodigm- yeah, I almost thought Howard Shore, too, and the LotR scores may be my favorite of all-time, but when you've been in the industry and for a few decades and that's all you're known for, you can't exactly lay claim to being one of the best out there, can you? Sorry if my frequent trafficking of this talkback bothers anybody- this is actually a subject I'm pretty passionate about.

  • May 9, 2006, 7:03 p.m. CST


    by Holodigm

    i couldn't finish stander, so i can't say about that. but to me, while his style kicks ass, ocean's was just an extension of his out of sight score. and when i was watching analyze that, i was like "what the fuck? is that david holmes music? what the hell is it doing here?" it didn't fit at all, which i blame partly on holmes and partly on the producers. holmes should have known better than to stick to his same old stuff, but at the same time i'm sure that's what the producers were looking for. so who knows. good point about morricone, i forgot he was alive. single greatest composer ever. also, good point about williams. around '02 it was getting painful for me to listen to his scores because they were all the same damn thing. i wanted to cry after his harry potter score (especially harry potter 2). but catch me if you can was his best score in an age, and i personally believe that scoring that movie reinvigorated his passion for film composing. since then i haven't been disappointed with him. harry potter 3 was fan-fucking-tastic, memoirs of a geisha had a wonderful score, and his spielberg work has been very good as well (yes i even liked his work on the terminal...just nothing else about the movie). i should stop typing and get back to studying.

  • May 9, 2006, 7:07 p.m. CST


    by Holodigm

    i don't think it's so much that's all he's known for as lotr just totally eclipsing all the other work he's ever done. like being the first music guy on snl - props for that. i dig some of his cronenberg stuff, and as minimalist as it is, i can't get enough of his score to after hours (his first scorsese collaboration if i'm not mistaken). funny - if goldsmith, silvestri, and berenstein (elmer) were still alive, i wonder where this conversation would go. now elmer - THAT'S a guy who was all over the place

  • May 9, 2006, 7:10 p.m. CST


    by filmicdrummer17

    Absolutely--there are so many scores of his that I love, but the ones that jump out right now are Magnificent Seven, Great Escape, and To Kill a Mockingbird. Dammit, I've gotta study, too. Finals week is a killer.

  • May 9, 2006, 7:15 p.m. CST


    by Holodigm

    i just looked up his filmography - damn, he really is everywhere. who else would go from robot monster to ten commandments to mag7 to mockingbird to animal house/blues bros./airplane to ghostbusters to bringing out the dead? i just took the final today for my scorsese class, and their work together really got me to appreciate just how good he is.

  • May 9, 2006, 7:16 p.m. CST

    William's first Jurassic Park score was brilliant

    by iamnicksaicnsn

    That's the last memorable one I can think of...

  • May 9, 2006, 7:31 p.m. CST

    The less Elfman does, the better...

    by ZeroCorpse

    His scores have sucked ever since Batman. Always the same, with little variation. There's a reason Ed Wood is the best Tim Burton movie- Danny Elfman didn't score it.

  • May 9, 2006, 7:32 p.m. CST

    forecast, that's a pretty accurate statement

    by Holodigm

    that's what he does, get the job done. i really dug goldenthal's work on frida, and his heat stuff i love as well, but that could be just because i love everything about heat. also, britshit, that end theme you're thinking of isn't lisa gerrard, and it's not elliot goldenthal either. it's a moby song, "God Moving Over The Face Of The Waters". his best, in my opinion.

  • May 9, 2006, 7:34 p.m. CST

    zerocorpse - hole in your elfman theory

    by Holodigm

    scissorhands was after batman. one of the best scores ever. i was actually wishing he wouldn't compose anything new for big fish and instead just reuse his scissorhands score. oh well. not like the movie was good anyway.

  • May 9, 2006, 7:37 p.m. CST

    Williams produced solid scores last year

    by performingmonkey

    Pity that Revenge of the Sith and WOTW sucked more balls than a ball sucking cocksuckers uncle who likes the taste of pubes that get stuck between his teeth during fellatio. And like Elfman was EVER going to do the Simpsons movie. He knows as well as we do how shit it will turn out, and he doesn't want his name attached to that (besides, Burton isn't directing).

  • May 9, 2006, 7:46 p.m. CST

    Good God, No! Not another Hannibal movie.

    by mattw

    Please just let it die. Also, the Pirates Of The Caribbean score was awesome.

  • May 9, 2006, 7:53 p.m. CST

    As a big Elfman fan, I hate to agree with ZeroCorpse

    by finky089

    But, for the most part Elfman's best work is that which came before 1990. Beetlejuice, Pee-wee's Big Adventure, Back to School, Edward Scissorhands. Midnight Run. Incredible. And for the most part, music that was unlike anything else at that time (and since, really). It set his work apart from all the other film composers. Exceptions to the "pre-1990" guideline are thescores for Nightmare B4 Xmas, Sleepy Hollow, parts of Mars Attakcs! With stuff like Spiderman, Red Dragon, MIB, or even the Hulk (BO flop, but that says nothing about the score) there was such potential for more of that true Elfman sound. But it's gotten pretty bland in the last decade and a half. We need an Elfman revival.

  • May 9, 2006, 7:55 p.m. CST

    the pirates score worked very well

    by Holodigm

    but it's a shining example of re-use. supposedly it was composed by badelt, but the clear component in the sound is that it was produced by Zimmer. half the score was straight out of gladiator, and the other half was a painful plagiarization of the rock. granted - he's plagiarizing himself, so i don't care. but that was the first glaring instance of re-use that i had ever seen. heard?

  • May 9, 2006, 7:56 p.m. CST

    Holodigm Scissorhands came out in 1990

    by finky089

    But, good call on the Moby piece. When I saw Heat (damn, over ten years ago??) it was what first turned me on to Moby.

  • May 9, 2006, 7:57 p.m. CST

    my bad Holodigm

    by finky089

    since 1990 is STILL after Batman came out in '89. It's the end of the day and my mind's kinda shot.

  • May 9, 2006, 8:33 p.m. CST

    finky, don't worry

    by Holodigm

    i'll be right there with you in a few hours - i have to study for a final AND write a script. and instead i'm in here and watching house. i'm fucked.

  • May 9, 2006, 8:39 p.m. CST

    Howard Shore is slipping.

    by Thumper2k1

    Just check out a history of violence. I fully expected Frodo to be walking out of the woods because Shore was constantly reusing LOTR tracks.

  • May 9, 2006, 8:42 p.m. CST

    House--for which there is no talkback

    by filmicdrummer17

    not sure what to make of the new Foreman. he makes me laugh, though.

  • May 9, 2006, 8:43 p.m. CST

    Transformers and Casino Royale

    by bmsatter

    Just looked it up on IMDB....Steve Jablonsky is doing Transformers and David Arnold is doing Casino Royale.

  • May 9, 2006, 9 p.m. CST

    Jablonsky is Michael Bay's bitchboy.

    by chickychow

    I realize its pure fantasy but how cool would a John Williams-composed Transformers score be (assuming the movie is worth watching)? And Hans ZImmer is the shit, don't be hatin'.

  • May 9, 2006, 9:03 p.m. CST

    No love for Williams' Harry Potter?

    by Anakin Whoopass

    Much better overall than his Star Wars prequel output, IMO. WIth the prequels I think JW did the best he could with what he had to work with, and most of the problems are editorial.

  • May 9, 2006, 9:12 p.m. CST

    zimmer is the least composer

    by watashiwadare

    be sure to mention all the staff underlings who do they work for him.

  • May 9, 2006, 9:20 p.m. CST

    Gabriel Yared, Clint Mansell, Terrence Blanchard

    by Koola_Norway

    You know, this is a nice talkback, props to ScoreKeeper for his pieces that makes us talk about composers (seems like there's a lot of interest among AICNers). So I want to put some focus on Yared, Mansell and Blanchard. Those guys have been doing varied and wonderful stuff for a long time. 25th Hour is an underrated film with a magnificent score (with homages to Morricones Once upon a time in America-themes...). Yared delivers every time for Minghella, and Mansell/Aronofsky is arguably one of the more fascinating comp/dir collaborations out there. On a side note; Who's scoring "Marie-Antoinette" for Coppola? New Order? :)

  • May 9, 2006, 9:43 p.m. CST

    a story about friendship

    by Monkey Butler

    With music by Randy Newman. "It's a story 'bout friendship, with music by me. In the end the bunny's family dies but the bear becomes his new family. Something like that."

  • May 9, 2006, 10:10 p.m. CST

    Williams, Newman, Howard, Giacchino and POWELL!

    by Dr. A. Ravenwood

    First off, screw the haters. Taking the time to recognize composers on a site about film is awesome. What's "Jaws" without 'dun-dun-dun-dun'...? Or "Raiders" without the march? I have to agree with pretty much everyone else: Williams is a genius and the last of a breed - when he goes, we have a few to carry the mantle, but we'll probably never see another composer with the ability to create scores that are instantly part of the lexicon of film. The zeitgiest. In the article, when mentioning Giacchino, the guy forgot to mention that he also did (a stellar job) on "M:i:III." I also agree that Newton-Howard is incredible. There are a couple of cues on "Signs" that give me chills everytime I hear them. And not getting (at the very least) a nomination for his work on "Kong" is absurd. It's an awesome score for a three hour film scored in five weeks and he never even met Jackson until the premiere!!! Also, Cliff Martinez did great work on "Traffic," "Narc," and "Solaris" - the latter I ran out to buy before finishing watching the film on DVD! Newman, great... a bit repetitive, but nowhere near as bad as Horner who literally lifts ENTIRE CUES and puts them in different films! I love "Braveheart," and "Sneakers" borders on brilliance, but the guy should be banned forever from scoring stages by now. The guy that really does it for me now is John Powell - He came out of the Zimmer school (Media Ventures), but don't let that put you off - His first score, for "Face/Off," while full of Zimmer-mimicry is still very good in places. In the last few years, the guy has knocked me out - starting with "The Bourne Identity," and then he really kicked my ass with "The Bourne Supremacy"! Then came "Mr. and Mrs. Smith" - it's light, fun and absolutely sells that film. A composer friend of mine very near considered throwing in the towel after hearing it because he said it was simply, "too good." I've seen "United 93" twice. Great, great film IMO... but what finally led me to shed some tears, was the last piece of music in the film... a child vocalizes with a choir and it's heart-wrenching. If you don't know his stuff, you're missing out, and if you're a score collector... he ought to be in your collection. Curious to hear what he's come up with for "X3."

  • May 9, 2006, 10:40 p.m. CST

    Face/Off WASN'T Zimmer?

    by Holodigm

    that's a genuine surprise. but he definitely did a good job on supremacy. the solaris soundtrack is one of my favorites, but i've never explicitly listened to any other scores by cliff martinez, which is my fault. i'm glad you brought up signs, because i was thinking about it and decided not to. signs was definitely shyamalan at his most hitchcockian, and i was floored by how well newtown howard channeled bernard herrmann. here's one i'll throw out there - david julyan?

  • May 9, 2006, 10:49 p.m. CST


    by Forestal

    "John seems to be taking a well needed break until Spielberg needs him for his upcoming Abraham Lincoln film." Wasn't Indy IV supposed to be Spielberg's next film?

  • May 9, 2006, 11:24 p.m. CST

    Badelt and Time Machine

    by Ktak

    I'm glad to see some recognition of one of my favorite scores from 2002, regardless of what you might think of the movie itself. And while we're talking great movie composers, how about John Barry? I don't think I'll ever watch a new James Bond movie without wondering how the score would have turned out in Barry's hands. Even movies I'd rather forget (Raise the Titanic, Howard the Duck?) benefitted from his talents. A friend of mine here in Japan is a piano teacher, and Barry's Somewhere in Time theme is still a very popular recital piece after al these years.

  • May 9, 2006, 11:49 p.m. CST

    ScoreKeeper is Giacchino! `Nuff said.

    by ManOfStool

    I`m sure of it! Anyone else onto him?

  • May 10, 2006, 12:34 a.m. CST

    Hans Zimmer is a chameleon when it comes to scores...

    by ScarranHalfBreed

    His score for the Simpsons will probably surprise you. He can be an incredible composer when he's not cirbbing off his own stuff, and he'll be under considerable pressure by the fans when scoring this. And Elfman not doing a Spider-Man film is a little bit like John Williams not doing a Star Wars film.

  • May 10, 2006, 1:03 a.m. CST


    by Cumlauncher

    Man where the fuck is Basil Paledouris these days? That's a scoremeister! Conan, Red October and such, oh and Alan Silvestri is awesome also!

  • May 10, 2006, 1:11 a.m. CST

    I don't like this....

    by jollysleeve

    I don't like hearing that different people will be scoring sequels to movies. Danny Elfman won't be doing Spiderman 3? I'm find with that. What I'm NOT fine with, is the idea that we probably won't be hearing any of the themes that were established in the first two movies. Yes, this shit does bother me. I have similar worries about the upcoming Pirates movies.......... I know that sometimes when there are established musical themes in a series, a new composer will be given license (or flat-out instruction) to use the original themes. (Harry Potter 2 and 4, and Superman 2, for example). But I gather those cases are the exceptions.

  • May 10, 2006, 1:22 a.m. CST

    So where are Basil Poledouris, Lalo Schifrin, and other

    by watashiwadare

    all those real composers apparently out of work! Poledouris, Bruce Broughton, David Shire, Craig Safan, John Scott, Trevor Jones, Peter Bernstein, and why does Bret Ratner's X Men 3 get John Powell instead of Ratner's usual choice Lalo Schifrin?

  • May 10, 2006, 2 a.m. CST

    In defense of Elfman

    by Bryan

    I can't deny that he's been stretched thin over the years. I don't think his Spider-Man scores are very strong, for example. But I think he's underrated just because he created such a unique style that he's easy to recognize. That's not the same as "every score sounds exactly the same." Even Batman and Batman Returns sound very different from each other. What about the weirdly rockin theme for Dead Presidents? The off kilter main theme for Charlie and the Chocolate Factory? The more old school (with theremin) Mars Attacks? And I wasn't a big fan of the oompah loompah songs, but again, a totally different style, more reminiscent of early Oingo Boingo. His songs for Corpse Bride weren't as good as Nightmare Before Christmas (his best score, if you ask me) but what about that gorgeous piano theme? I wouldn't write him off yet. p.s. I thought Schifrin WAS doing X-Men 3. I read that a long time ago and was really looking forward to it. That's really disappointing to hear otherwise.

  • May 10, 2006, 2 a.m. CST

    on Michael Giacchino

    by Mr. Fist

    I have been a fan of his since his score for the first Mdeal Of Honor game, and I have to say, it's about damn time that he's becoming famous and doing higher and higher profile films. His acclaim is long overdue. If you can find it, download the theme to Secret Weapons Over Normandy, (still one of my favorite pieces of game music ever). BTW, anyone who claims that his early work is just a John Williams retread is wrong as hell. It IS inspied by his music, yes, but he very much does his own thing with it. As far as i'm concerned, everything he's done so far is gold.

  • May 10, 2006, 2:05 a.m. CST

    Oh, and...

    by Mr. Fist

    I totally agree about Basil Poledouris. I still listen to the Robocop score on a regular basis. Thank John C. McGinley he's coming back with Bunyan & Babe. (God, I hope that movie doesn't blow.)

  • May 10, 2006, 2:57 a.m. CST

    Oh, come on... We need Jan Hammer to come back!

    by ZeroCorpse

    You know it. Every new movie would be SO much better if Jan Hammer scored it. Imagine how King Kong would have been if they'd gone with the Hammer, and how about the upcoming Knight Rider movie? Hmmm..?

  • May 10, 2006, 3:09 a.m. CST


    by kwisatzhaderach

    Conan The Barbarian has to be one of the all-time great film scores, absolutely awesome. And RoboCop and Red October are awesome too. The art of film-scoring seems to be dying...along with the art of filmmaking in my view.

  • May 10, 2006, 3:55 a.m. CST

    For the last 8 years, Beltrami has been doing one thing

    by SalvatoreGravano

    Namely, making up juvenile track titles for his bland, dull, lifeless, Insta-Forgettable compositions ("Mole Asses" - ha! Wilde, be my muse!). He's little better than Zimmerocopier and all his Media Venture spermazoids with German and double names.

  • May 10, 2006, 4:33 a.m. CST

    Danny Elfman Spiderman scores were great!

    by Wonderboys


  • May 10, 2006, 4:35 a.m. CST

    And I cant wait John Powell's X-Men 3

    by Wonderboys

    Powell its a great composer (his Bourne Supremacy score is great), and its far better than Ottman, that btw, I feel its not a great composer (nor editor) and Im too a little afraid of his score for Superman Returns...

  • May 10, 2006, 4:41 a.m. CST

    Bernard Herrman

    by head_cheese

    Sorry, just wanted to mention his name. While I'm at it Ry Cooder, Kenji Kawai, Vangelis, Adolph Deutsch, Jon Brion, Eric Serra, John Carpenter, Goblin, Philip Glass, Michael Nyman, Dust Brothers and Dun Tan.

  • May 10, 2006, 5 a.m. CST

    Elliot Goldenthal

    by _pi_

    The most interesting composer working today. What's he doing?

  • May 10, 2006, 5:46 a.m. CST

    No one's mentioned Henry Mancini?

    by judderman

    Pink Panther? Romeo and Juliet? Baby Elephant Walk? Peter Gunn? Moon River? I'm glad to see someone finally noting that Elfman's scores haven't been all they could have been in the last decade or so. And for the record: I think James Horner's best score was Sneakers. I also think that Bernstein doesn't get the credit he deserves for making Ghostbusters great, and that Hans "I've got a bigger synthesiser than you" Zimmer can go jump in a septic tank.

  • May 10, 2006, 6:04 a.m. CST

    Um...about PotC and in regards to Beltrami...

    by BV

    Badelt and over SIX other composers scored PotC...or rather, I should say, MIMICED the temp track (Bram Stoker's Dracola, and Gladiator, almost note for note, in some places). It was pretty pathetic. Speaking of Mimic...Marco Beltrami was Jerry Goldsmith's protege, as I recall, so he's probably the best choice for composer anyone could possibly hire for the remake. Just my 2 cents.

  • May 10, 2006, 6:06 a.m. CST


    by BV

    I've never tried a Dra-Cola. I wonder if it's caffeine free...

  • May 10, 2006, 6:11 a.m. CST


    by kentrel

    Another nice article, are you going to be a regular contributor now?

  • May 10, 2006, 7:23 a.m. CST

    Soundtrack Bonanza

    by Drexl

    Finally! AICN starts talking

  • May 10, 2006, 7:31 a.m. CST

    I love the main theme from PotC

    by ZakChase

    You know, the one that plays when we first see Jack Sparrow sailing into port on his little sinking boat. Yeah, it's mostly cribbed from "Gladiator," but it still gets me all goose-pimply. I hope it's not ditched for the sequels.

  • May 10, 2006, 7:47 a.m. CST

    John Barry and the 1976 Kong...

    by jasper Stillwell

    ...a really underrated score and is the best thing (apart from a semi-naked Jessica Lange and a pre-Dude Jeff Bridges) in the movie. As i understnd it was written in part before the movie was filmed and the effects completed. Hence a score that offers more emotion, scale and weight than the film itself actually delivered. Check it out. Oh and keep Elfman away from the's been done already.

  • May 10, 2006, 7:58 a.m. CST

    Zimmer and all his underlings are the best!

    by ssr12

  • May 10, 2006, 9:18 a.m. CST

    Zimmer did fine with "Wallace & Gromit"

    by Bastian

    So there shouldn't be a problem with delivering a decent Simpsons score.

  • May 10, 2006, 9:36 a.m. CST

    Film music, fuck yeah!

    by Darkman

    Really glad that Elfman is doing a silly comedy again; "Nacho Libre" feels like a throwback to the kind of films he did when he started out. One composer that gets almost no respect whatsoever: David Newman. Don't know him? SERENITY, GALAXY QUEST, THE PHANTOM and Danny DeVito's films are good places to start. His music never fails to impress. And to 5_day_forecast, I heard YOU ONLY LIVE TWICE in "Kronos Unveiled" from THE INCREDIBLES. Not sure where HELLBOY came from.

  • May 10, 2006, 10:12 a.m. CST

    Great Column

    by R H S C

    Scorekeeper: maybe you could post this quarterly or something? BTW check out Jerry Goldsmith's score for "Basic Instinct", particularly the haunting main theme. Good stuff. Howard Shore has been doing consistent work for years. Check out his score for "The Fly". Danny Elfman is overused & tired. Whatever happened to a good electronic score? Remember Tangerine Dream and the soundtrack to 'Sorcerer'? 'Blade Runner' by Vangelis? Maurice Jarre did a great score for 'Jacob's Ladder'. Matching images to music seems to be a lost art. Stanley Kubrick and Ken Russell were good at that. Speaking of Ken Russell, the score for his film 'Altered States' by John Corigliano is another underrated classic. I have 'The Shining' soundtrack on LP. Amazing stuff, particularly the Wendy Carlos & Rachel Elkind tracks. There are so many amazing composers and compositions from the last 50 years that have never been used. A lot of talent is untapped while Hollywood cuts checks to the bland, recyclable Zimmers, Newton Howards and Little Jack Horners.

  • May 10, 2006, 10:19 a.m. CST

    Basil Poledouris hasn't scored a Hollywood movie...

    by Osmosis Jones SIX YEARS. Come back, Basil, we need you!

  • May 10, 2006, 10:37 a.m. CST

    Zimmer and PotC1

    by Mickey The Idiot

    Wasn't Zimmer one of the six composers drafted in to sort that out when the movie's score was on collision course with its release date? So, this ain't necessarily new to him - and no wonder so much of it sounded like Gladiator.

  • May 10, 2006, 10:48 a.m. CST

    You know who's a good composer?

    by MrBoinfoint

    Whoever that guy was that did the score for Immortal Beloved and 32 Short Films About Glenn Gould. Ludwig something...

  • May 10, 2006, 10:56 a.m. CST

    Ry Cooder- yeah!

    by finky089

    Agree with the many guys above, SCOREKEEPER, make this a semi-regular contribution. I love film scores and based on reding many of the talkbacks above, now have a few new guys to check out.

  • May 10, 2006, 10:58 a.m. CST

    "reding" - the new, hip way to write "reading"

    by finky089

    this is why I would totally lobby for an auto-spellcheck feature in Talkbacks.

  • May 10, 2006, 11:44 a.m. CST

    Great colunm, great TB. Make this a regular feature!

    by Fat Chooch

    Good to see some late love for the '70s - '80s euro-electronica scores. I own over a dozen Tangerine Dream discs and I'll put their stuff up against almost any latter-day "trance" mixes. On a TD tangent, I was kind of suprised that Christopher Franke never made any kind of major film soundtrack (a few cheapies, but nothing A-level). I thought his work on Babylon 5 was a great part of what drove that series, particularly in the first and second seasons. Speaking of TV, that where many of the aforementioned greats either got their starts or dabbled into at one time or another (Williams, Goldsmith, Schifrin, etc.) Giaccino seems to be the latest to make the jump to features successfully. My question to everyone is: Who's next? Who will be the next TV show composer to make a big impression in feature films? Personally, I'd like to see Sean Callery get a shot somewhere...

  • May 10, 2006, 12:08 p.m. CST

    Whatever Happened to Vangelis?

    by SamuelLappDance

    The guy delivers two of the most amazing and most memorable scores of the past quarter-century ("Chariots of Fire" and "Blade Runner") and then all but falls off the Hollywood map. Great Talkback this time, dudes and dudettes. As far as Williams is concerned, no one in the history of cinema had a more inspiring run than he did from 1975 to 1984. "Jaws," "Star Wars," "Close Encounters," "Superman," "Empire," "Raiders," "E.T.," "Jedi," and "Temple of Doom?" That's an absurd amount of genius! And don't sleep on his scores for Oliver Stone. You can have a ridiculously good cry to his music from "Born on the Fourth of July," and "JFK" was great writing, too. And his "Episode I" work was insanely good, as was "Jurassic Park," "Schindler's List," that great throwback work he did on "Catch Me If You Can." Oh, damn, boy! And the "Harry Potter" soundtracks. Even "Hook" had some terrific moments. Re: Hans Zimmer. I think he's just worked on too many films. He used to be really interesting and distinctve everytime out in the late '80s and early '90s. "Rain Man," "Black Rain," "Driving Miss Daisy," "Green Card," "True Romance." Some really different work that has been lifted a LOT since then in commercials and sports retrospectives and such. Man, if I were him, I wouldn't go anywhere near "The Simpsons."

  • May 10, 2006, 12:28 p.m. CST

    SAMUEL (re: Vangelis)

    by Joseph Merrick

    Vangelis Papathanasiou is still composing. He's released an album or two over the last few years, and scored Oliver Stone's ALEXANDER in 2004.

  • May 10, 2006, 1:30 p.m. CST

    Thank you, ScoreKeeper, Drexl, and... er.. Cumlauncher,

    by Flim_

    for keeping the faith alive. Poledouris is pretty much the only composer I can think of who doesn't ape his own work (repeating yourself, incidentally, is really easy to do). It's been a while since we heard from him. Drexl, you made all my points for me. I unfortunately hopped on here a bit late to fully opine, but that's cool. I hope this thing becomes a regular feature, and I'm shocked at the number of people who actually listen to score, and are keen about it. Kudos to you all! I love you! If I were in charge, and I certainly should be, I would give Giacchino a job scoring the Bond films, since David Arnold is such an unconfident composer. Mind you, that would be after I called John Barry, and he undoubtedly turned it down. MI:III is the best score of the last two years, at least. Check out the cue 'Shang Way High' to see what I mean about the Bond thing, and check out 'Hunting for Jules' to hear the best cue from the best scene of the best film so far this year. I can't believe they did a 45 second tracking shot with Tom Cruise running AT HIS ABSOLUTE MAXIMUM through a crowded alleyway!! What a scene!! I could only hope to score as well as that cue someday. Anyway, I'm gushing, so I must go.

  • May 10, 2006, 1:32 p.m. CST

    Ask and Ye Shall Receive

    by SamuelLappDance

    Thanks, Mr. Merrick!

  • May 10, 2006, 1:35 p.m. CST

    Zimmer on The Simpsons

    by Flim_

    The Simpsons isn't going to be that much of an original score. He's got fifteen seasons of source material to draw from, and if he has to do anything much, it'll be singing numbers or taking the piss out of entire genres with single cues. His scoring work on TEAM AMERICA: WORLD POLICE was very good, and he won an Oscar for his musical numbers in THE LION KING. This dude likes to do this sort of thing, and it will turn out well. I just read what I wrote, and felt ill. This, from a guy who is a notorious Zimmer basher, THE THIN RED LINE and BACKDRAFT notwithstanding.

  • May 10, 2006, 1:36 p.m. CST


    by Flim_

    I can be forgiven for mistaking Harry Gregson-Williams for Hans Zimmer, can't I? Bloody Media Ventures Group...

  • May 10, 2006, 2:04 p.m. CST

    Who's scoring the New Harry Potter film

    by holidill

    I think Harry Potter and the Order of the Phoenix comes out next summer. Any idea whose scoring that one?

  • May 10, 2006, 2:15 p.m. CST

    Harry Potter

    by Flim_

    Patrick Doyle did a really good job with the last one, but since it's a new director... Who knows? Hopefully they stick with Doyle, he really suits the series, I think.

  • May 10, 2006, 3:16 p.m. CST

    Odd thus far there's no love for...

    by Fat Chooch

    ... Marc Shaiman. I still feel like dancing anytime the Mamooshka scene from The Addams Family plays. And I still get a hearty laugh out of his decision to use gospel in the cattle stampede sequence of City Slickers. And let's not forget the South Park movie, either.

  • May 10, 2006, 3:19 p.m. CST

    Badelt's score was one of the only bright spots...

    by Novaman5000

    in Time Machine. What a waste of good music.

  • May 10, 2006, 3:21 p.m. CST

    And what about Jon Brion?

    by Novaman5000

    I loved Eternal Sunshine's score. Huckabees was good too.

  • May 10, 2006, 3:22 p.m. CST

    And Gregson Williams' MGS work is top notch...

    by Novaman5000

    I know, I know, it's not a FILM, but fuck it, it's awesome.

  • May 10, 2006, 3:47 p.m. CST

    great to have scorekeeper on board

    by drjones

    YANN TIERSEN rocks in a very sympathic folky, cozy, old french way. you may know his scores from AMELIE or GOODBYE LENIN. he's not an exquisite film composer, though. angels in america, road to perdition, six feet under opening theme, american beauty ....thomas newman is a magician.

  • May 10, 2006, 3:51 p.m. CST

    Klaus Badelt and Jon Brion

    by Flim_

    At his best, Badelt is unremarkable (See 16 BLOCKS, K-19 THE WIDOWMAKER) At his worst, Jon Brion is ripping off Zimmer, or just wanking off (See MAGNOLIA, PUNCH-DRUNK LOVE). Gregson-Williams has done some of the worst scores I've ever heard, though I think he has some talent. MAN ON FIRE is on my worst-ever list, but THE CHRONICLES OF THE LONGEST TITLE EVERNIA showed that he can actually sit down and focus... For a time. It was a bit weak in parts.

  • May 10, 2006, 4:17 p.m. CST


    by washisdead

    of himself! he reuses themes more than james horner!

  • May 10, 2006, 4:37 p.m. CST

    A compilation film about film scores

    by finky089

    I'd love to have a "That's Entertainment"-type set of films that focused exclusively on film scores. How badass would that be? Highlights of the best or most prominent film scores/cues over the last 50-75 years (more time to be spent on the last 30 years, though) and talk about the guys who wrote them and the ideas they had when writing them.

  • May 10, 2006, 7:45 p.m. CST

    Klaus Badelt & Hans Zimmer

    by Cadillac Jones

    Don't be hatin' Badelt because he sounded like Zimmer, hate Jerry Bruckheimer. I don't care who Bruckheimer gets, he ALWAYS makes the ENTIRE film fit his "secret patented ingredients" package; IE that every film is the same all-around. Try and find a difference in the score for The Rock, Con Air & Armageddon; they're interchangable. Klaus Badelt just "got with the program" which likely while Alan Silvestri was replaced.

  • May 10, 2006, 7:49 p.m. CST


    by Cadillac Jones

    Klaus Badelt just "got with the program" which IS likely WHY Alan Silvestri was replaced on PotC. Dang - need caffiene.

  • May 10, 2006, 7:59 p.m. CST

    Who cares if Zimmer reuses - it sounds cool you idiots!

    by ssr12

  • May 11, 2006, 2:01 a.m. CST

    Great Column. Make it a regular thing.

    by one9deuce

    There is nothing like a great score to elevate a film's impact. Sometimes I wonder if we are going to get some great themes again. There hasn't been any instantly recognizable themes for a film in a while in my opinion. Plenty of great scores though. John William's Harry Potter theme is the only thing that comes to mind, and while his first Harry Potter score is good, the Prisoner of Azkaban score is great. There is one composer that I haven't seen mentioned on here that I think did some outstanding work, and that is Don Davis on The Matrix films. Some great work on one great and two mediocre films. I agree with a lot of talkbackers here: John Barry's King Kong (1976) score, Bruce Broughton's Silverado and Tombstone scores, Basil Poledouris' Conan the Barbarian and Robocop scores. A lot of great work.

  • May 11, 2006, 2:03 a.m. CST

    R H S C

    by one9deuce

    You wrote: "There are so many amazing composers and compositions from the last 50 years that have never been used. A lot of talent is untapped" Can you give me some examples? I would like to listen to some of the music you are referring to in your post.

  • May 11, 2006, 5:39 a.m. CST

    Broughton and Barry

    by Drexl

    I recently bought the '76 King Kong score. Fantastic stuff. I love the music when Lange falls down the cage on the ship which holds Kong. He picks her up, then lets her go and as she climbs back up both the scene and music ominously hint at the finale. That scene makes Kong '76 worth watching. Tombstone's been mentioned! If there's one absolutely brilliant moment in Tombstone it has to be the opening where you have the old black and white footage, the voice-over talkin' about the Cowboys and then WHAM widescreen shot, The Cowboys on horses, ready to brutally kill and destroy. Broughton's music could re-start hearts in that scene. Great stuff!

  • May 11, 2006, 9:30 a.m. CST

    Speaking of Broughton...

    by Flim_

    One simply must mention SILVERADO. What a great score!! Oh, and THE MONSTER SQUAD! Broughton doesn't get enough play these days. Barry is quite simply one of the best ever. Even his scores for wank movies are good... MERCURY RISING, SOMEWHERE IN TIME (I think the movie is waaaay to schmaltzy, but the score is great), THE SPECIALIST, MOONRAP.. RAKER (shudder), and last, but certainly least, RAISE THE TITANIC, which has an absolutely momentous score, and is a completely rubbish movie. And his scores for good movies? Fugedabowdit! DANCES WITH WOLVES, THE LIVING DAYLIGHTS, THE BLACK HOLE, INDECENT PROPOSAL, ZULU, HOWARD THE DUC... Whoops. I guess the only bad thing he ever did was to suggest to the Broccoli Brood Brain Trust in charge of the Bond franchise that they use Eric Serra to score GOLDENEYE. Shudder. Don't get me wrong, Serra is great at what he does, but he was completely wrong for Bond. I just wish they'd bring back Barry for Bond. Oh well...

  • May 11, 2006, 10:45 a.m. CST

    This is fucked

    by BendersShinyAss

    Why would they bring in Hans Zimmer for the Simpsons? Why would they bring in Elman?? I've never been disapointed with Alf as the series scorer -- and I think this is just plain rude. As for Elfman being replaced with Chris Young. This is just funny to me. Elfman left the film because Raimie kept pushing him to score the movie with Chris Young temp music. Elfman got pissed off, as you would. In the end Raimie not only liscenced the temp music chris young had written (Totally cheapening the film) I bet you good cash right now that Raimie will want chris young to adapt Elfman's theme. I've always hated the spiderman flicks. YES I blame Raimie and YES I HATE that he's done them ALL. Oh well. I have a soft spot for Evil dead.

  • May 11, 2006, 10:55 a.m. CST

    Ottman on superman

    by BendersShinyAss

    As excited as I am about Superman, I am Terrified of what Ottman will do with the music. Since the man is cutting the film, I have to assume he also cut the trailer. In that he made good use of Horner, Williams score, and some other mystery piece (I'm hopeing it was Ottman's) in any case, why is the composer also editing the film? And why does John Williams music always get re-used by lesser composers for sequels? Take Jurrasic Park 3. That film could have been better (maybe?) had the music at least been fully original! Even Superman 2 would have been better had they just brought in Goldsmith or Elmer Bernstein or someone to write a new theme. alls I'm saying is, I HATE how Williams Themes get re-used for sequels. I mean, Even When williams does infact compose his own sequels, he uses the original themes sparingly. Jurrasic park 2. Jaws 2. shit, even the star wars prequels were over 80% original!

  • May 11, 2006, 11:10 a.m. CST

    Agree with Benders

    by bmsatter

    Most people think they want to hear themes from a prior film when it comes to sequels. To some degree its necessary but in order to truly make it a gret sequel it needs to be scored on its own terms. Williams didn't bring in the Raiders March on Last Crusade until the end credits. All the new themes in Last Crusade made it a fresh new story in the spriit of the films we already know and love. All the new themes in Last Crusade were excellent. Check out other Williams scores and you'll see he uses the previous movie's theme pretty sparingly. Hearing Williams superman theme in the trailer already bugs me. I wonder in the film if it's going to completely take me out of it. We shall see.

  • May 11, 2006, 11:12 a.m. CST

    How cool to have a Film music talkback

    by BendersShinyAss

    Harry Gregson Robertson, after Narnia, is no longer worthy of composing any more 'big' films. Klause Biddleeny or what ever his name is, can come up with some good ideas, but he CAN'T hold them! Remember Cliff Eidleman? That dude like composed 1 film. star Trek 6, and then he disappeared as if beamed up off the Earth. Same with the dude who wrote "The last starfighter". One of the greatest themes EVER! Alan Silvestri was a hot favourite of mine when i was a kid, with Back to the future, Romancing the stone and Predator. He made an amazing comback with Mummy Returns - only he used the same theme repeatedly like 780 time in a row. good if your high on speed but I wouldn't know I only smoke crack. I mean pot. I mean i've given up. Hey, at least i don't drink. man I could go a cone right about now. Oh and Lilo & Stitch. Silvestri wrote a monster tune for that little flick. David Newman is one of those silent types who I fear will never get his just recognition. James Newton Howard tends to fall back into his Waterworld style a lot these days, but thats kinda cool! Atlantis was probably the greatest score EVER written. Give that man a star trek film. He's got the same muse Goldsmith and Horner use. Remember Bruce Broughton. Man I hate his shit. Yet, why do I still whistle his themes? I'm going to bed

  • May 12, 2006, 11:10 a.m. CST

    yeah this is the best talkback ive seen....

    by Westonian

    I think williams is still really good. I watched Munich again yesterday and the moods he sets are amazing. Its his best i think since schindlers list. Spielberg owes him alot. James Newton Howards score for king kong wasnt that great i thought.....but his score for the Village has to be my all time favorite. Anyone else like that score? Hilary Hahns violen work is great in it too.

  • May 12, 2006, 1:04 p.m. CST


    by casinoskunk

    media ventures can bite my butthole! John Powell is #1!

  • May 12, 2006, 4:09 p.m. CST

    screw Randy "Under the Gun" Newman

    by beamish13

    Untalented lounge singer hack...

  • May 12, 2006, 5:45 p.m. CST

    John Debney for TRANSFORMERS bar none...

    by Monkey_King for Mark Mancina. heh heh

  • May 13, 2006, 9:53 a.m. CST

    Fuckin' Randy Newman...

    by Flim_

    Fat man with and his kids and dog, Drove in through the morning fog. Hey there Rover, come on over. Red headed lady, Reaching for an apple, Gonna take a bite, nope, nope. She gonna breathe on it first,wipe it on her blouse. She takes a bite. Chews it once,twice,three times, four times, stops! Saliva workin', takes a hard long look at Randy... five times. Fat old husband walking over. Yeah, They're walking down the road Left foot,Right foot Left foot,Right foot Left foot....

  • May 14, 2006, 5:02 a.m. CST

    Film Composers have the most underappreciated jobs.

    by deadguy76

    Directors and Cinematographers get plenty of attention. It's about time film composers have their respect. Thanks for making this post, music is important to film! Oh and thanks head_cheese for the Bernard Herrmann shout out. Claudio Simonetti did some solo work you might want to check out. Oh yeah, Angelo Badalamenti rocks. I don't think anyone mentioned his name. Hey Novaman5000, check out Indigo Prophecy. It's got some great music.

  • May 15, 2006, 7:42 a.m. CST

    Sequels to JW scores sometimes turn out good.

    by minderbinder

    Don Davis did a good job on JP3. And the scores for Harry Potter 2 and 4 were good, I particularly liked what Patrick Doyle did. For awhile they were saying Williams would be back for 5, but latest rumor is OOTP will be done by a guy named Nicholas Hooper, I think he did TV stuff with Yates. Personally, I hate Zimer, I think his work generally sucks and can't think of a score of his I liked (maybe Prince of Egypt?). Pirates should be too much different, the first one was a last minute hack by Zimmer's entire company. There are SEVEN additional composers listed in the credits, and I wouldn't be surprised if there were more.

  • May 15, 2006, 2:52 p.m. CST

    Speaking of Zimmer...

    by Flim_

    I have just listened to the score for THE DA VINCI CODE, and I must say that I think it's his best work since THE THIN RED LINE, though I'm not a big fan of GLADIATOR, which some people dig. It's probably his best full work since CRIMSON TIDE. Very, very good stuff.