Who are the up and coming film composers? (1 Viewer)

[David Coleman]

I admit i've been out of the loop on this one lately. I do miss the presence of a Jerry Goldsmith and still appreciate the presence of composers like John Williams, Danny Elfman, James Newtown Howard, Hans Zimmer and especially James Horner's work, however i'm curious who's new on the scene?

So please list your favorite up and coming composers and their works?

Thanks in advance!!

David

 

[L. Anton Dencklau]

..

 

[RickER]

The last good score i bought was The Lord of the Rings trilogy. Music in movies is dead for the moment IMO. I have not heard a Star Wars or Indiana Jones in years. Seems all they do anymore is what i call soundscapes, mood music, more sound effect than anything. Dare anyone to come out of the movies humming the music, cant do it now.
I own about 150 soundtracks on CD, mostly 70s and 80s stuff, lots of Horner, Goldsmith, and Williams.

 

[Romier S]

I couldn't disagree more with that statement. There is plenty of fantastic work being done on the film music front these days. Film scores that don't have to be a "Star Wars" or "Indiana Jones" but remain completely memorable pieces of work.

James Newton Howard's work is more often than not fantastic. Though the film was a disappointment, his "The Lady in the Water" score was sublime. His previous work in The Village remains one of my most listened to soundtracks. Other memorable composers and thier works include Shigeru Umebayashi (The House of Flying Daggers), Hans Zimmer (collaborating with the aformentioned Newton Howard in Batman Begins), Harry Gregson-Williams (The Chronicles of Narnia most recently), John Powell (X-men III and The Bourne Identity), Patrick Doyle (wonderful score for "The Goblet of Fire" that completely upstaged John Williams work IMHO), Howard Shore (LOTR and History of Violence), Clint Mansell (Requiem for a Dream) and many more. The list could literally go on and on...

No, I think film music is very much alive and well. It's almost sad that I more look forward to listening to the work of a films' composer than I care to watch the actual film these days.

 

[Leo Kerr]

Unfortunately, there are far too many films where the production company says, "here are the top ten hip-hop artists. Work them into the soundtrack" - even if it's a Victorian period dramatic piece.

Maybe not by that example, but you get the idea.

Leo Kerr

 

[MarkHastings]

Mark Isham's score for Eight Below is wonderful!
Also, John Debney's score for Dreamer is beautiful!

 

[ThomasC]

Dario Marianelli's score for Pride & Prejudice was heavenly, but that's the only thing I've really heard of his. He also composed the music for V for Vendetta, but the music didn't stand out to me.

 

[Holadem]

I like Michael Giacchino's work for The Incredibles and LOST. MI:3 was somewhat dissapointing though. It failed to leave an impression.

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H

 

[David Coleman]

I've only heard THE INCREDIBLES and honesty it rips off John Barry's Bond scores too much for me to give him credit. Will be interesting to hear the others.

 

[Holadem]

If that's a rip off, then so is the entire movie. I trust you get my point.

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H

 

[Kevin Grey]

Rips off as in directly steals Barry's Bond score? It's quite obviously an intentional throwback to those scores but that isn't nearly the same as a rip off.

Giacchino's work on Alias really showed off a very diverse talent (moreso than his work on Lost )so I think he has a lot more tools in his bag than just taking stuff from John Barry.

 

[David Coleman]

I noticed some very Barry-ish motifs in THE INCREDIBLES score.

 

[Arild]

That was kinda the point.

In fact, wasn't Barry at one point attached to do The Incredibles himself?

 

[Chad R]

Motifs are products of inspiration, not rip-off. I think he did exactly what the director asked him for, a 60's inspired jazz score.

 

[nickGreenwood]

This idea would be great for a King Arthur movie, but only if Arthur is played by Kanye West or Jay-Z, they'd have to break down in a scene and start rapping.

 

[David Coleman]

A 60's jazz score could have had the influence of a Lalo Schifin however THE INCREDIBLES is too Barry-ish.

Let's put it this way if the Bond films had never happened that film would have sounded vastly different.

 

[Holadem]

Apparently you didn't get my point.

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H

 

[Nick Martin]

Yeah, I can take the hint

Horner caused a bit of serious controversy lately, with an online radio interview where he gave a rather intense, angry, (some called it unprofessional) and frank take on working in hollywood, specifically his less-than-pleasant dealings with Terrance Malick and Wolfgang Petersen.

 

[David Brown Eyes]

There is a reason for that. The producers wanted to get Barry to do the score and he either was not able to or refused. Giacchino was asked to replicate the sound of Barry's Bond score. I think he did a fabulous job of it.

 

[David Coleman]

Ok I can accept that!

Curious the producers just wouldn't be content with the composer using his own style?