If you know me relatively well or read my About Me page you would know that music means a great lot to me and is integral to my soul. I also said that I would one day write a post about my favourite composers and their styles and my favourite soundtracks. So here we are.
To start, I have a few notes so you know where I’m coming from: I love music that is a part of, or tells, a story; well, at least that is the conclusion I came to when trying to uncover the root behind my undying love for movie scores and soundtracks. When I say a score, I am referring to a musical score which is otherwise known as the instrumental composition in the background of movies (or foreground in my case). When I say soundtrack, I am often referring to the soundtrack one would purchase which can include vocal tracks; however, technically a soundtrack is anything audible during the film. Now let’s begin.
HANS ZIMMER: We might as well start at the top of my list with the formidable Hans Zimmer. Although I’d like to just say he is my favourite, I don’t think I can honestly because he is in a strange sort of competitive dance with James Newton Howard for top spot. Hans, though, is responsible for the mouth-watering Sherlock Holmes score (as pictured above). It is a singularly unique sound created for this film (also fantastic) even though it does betray hints of Hans’ previous work in the Pirates of the Caribbean franchise. As far as I’m concerned, when a composer can produce a personalised sound for a movie, almost like a signature, it becomes genius and is instantly more interesting because it is an original thought. Hans’ style is one of quirky drama. He creates quite elaborate, dynamic sounds that build so intricately and crescendo in a very impressive and grandiose way, but, all the while there is a particularly interesting or unusual sound that weaves within the music and is a vital part of the score’s individuality. For example, in Sherlock Holmes the electric cello is used by an innovative artist to enhance the classical-ethnic mix of the rest of the score. Hans also has an undeniable percussive influence in his music and often has exotic instruments and beats in that section.
He is, of course, and Oscar nominated and winning composer and in my eyes some of his most notable works are The Lion King, Gladiator, The Holiday, Sherlock Holmes, Pirates of the Caribbean (all of them), and Inception. Also, I am assuming the Despicable Me score will be quite enjoyable.
JAMES NEWTON HOWARD: This man is possibly the best at creating those signature scores for movies that I’m so fond of and is master of the sounds of fantasy worlds. He knows how to create that whimsical but dramatic music that suits the fantasy genre so well. It is for that reason that I want him to compose for the film version of my novels. The best way to describe his style would be fanciful and emotive with a distinct buoyancy. The prime example of this is the soundtrack of Peter Pan (2005). James really captures the light-hearted adventure of the film and creates sounds that are equal to Neverland’s dangerous innocence and beauty. Not only that, but I dare you to not get goosebumps in the “I Do Believe in Fairies” scene; such is the power of that song.
In Atlantis: The Lost Empire he captures the ancient and tribal culture of Atlantis in the sound of songs like The Secret Swim. That was one of the first soundtracks I ever wanted to buy when I was younger. Other notable works include the Treasure Planet soundtrack, hopefully The Last Airbender soundtrack (I love Asian sounds and the movie is based on one of my most beloved T.V. shows which featured a fantastic soundtrack), as well as his work with Hans on both Batman Begins and The Dark Night. It is worth noting that both he and Hans have done plenty of mainstream movies.
HARRY GREGSON-WILLIAMS: He’s not as original and unpredictable as my top two, but he certainly is still worth talking about. His music is often heard behind action or medieval fantasy films and is often very dramatic and intense but also fairly dynamic. As I mentioned, he has a certain amount of predictability in his scores, in that you can hear the same sounds repeated across several movies. For instance, I loved and bought the Lion, the Witch and the Wardrobe soundtrack because the music was delicious (especially the Narnian lullaby!); however, I wouldn’t buy the Prince Caspian soundtrack because it was basically reused. Now, that is fair enough considering they are from the same franchise, but you can hear cross-over in other movies such as Kingdom of Heaven or Sinbad: Legend of the Seven Seas. Speaking of which, Sinbad is my favourite of this composer’s work; it is an addictive and enchanting soundtrack that compliments the film perfectly and encapsulates the adventure in musical form. Harry was probably the first composer I ever knew the name of and it was because of Sinbad.
DANNY ELFMAN and ALEXANDRE DESPLAT: Also one who can sound quite similar from score to score but seems to keep showing up in my iTunes is Danny Elfman. His works that I own include Corpse Bride, Meet the Robinsons, Alice in Wonderland (2010), and the small amount of score on the Chicago soundtrack. He has a very satisfying jazz and blues influence in his music but there is quite a bit of crossover between soundtracks. He normally works on the Tim Burton films so his music is quite comically dark.
Alexandre Desplat is quite a famous composer with several Oscar nominations and wins. However, he just doesn’t spark my interest too much — or maybe I just don’t watch his movies — but, the New Moon, Julie and Julia and Fantastic Mr. Fox soundtracks are the ones that did. He has a strong classical style and is sort of a less impressive Hans. He has a fondness for bouncy, fast-paced tunes that even make a well disguised appearance in the tasty melancholy of the New Moon score.
HARRY POTTER: I am a Harry Potter fan, of both the books and the films (even though their plots can be strangely unalike) and the film scores haven’t disappointed me yet. I have every single one, and in the case of the Prisoner of Azkaban (Oscar nominated and coincidentally my favourite), I have both the soundtrack and complete soundtrack which includes many of the audible sounds including integrated vocal effects on the dialogue. For example, Confronting Sirius is a track over six minutes long that contains the groans and squeaks of the shrieking shack mixed with echo effects on the dialogue and an emphasising score. I just love it all. Of course, John Williams is the genius behind the Prisoner of Azkaban and the first two scores which have magic embedded in the notes, including that iconic theme. Goblet of Fire is the most disappointing — it is a little too intense and over-dramatic to fit in but still has several good moments — and is composed by Patrick Doyle who never was heard from again. The most recent films (Order of the Phoenix and Half-Blood Prince) have a distinctly different sound to the original while still retaining the main theme. Nicholas Hooper is responsible for these latest scores and the change suits the change of direction the films took. However, strangely, Alexandre Desplat is taking over for a one-instalment stint with Deathly Hallows: Part 1 and then, poetically, John Williams will return for the finale — that, I can’t wait to hear.
DISNEY: What can I say, Disney is pure and unadulterated genius, and Alan Menken, composer from The Little Mermaid and Aladdin to the Hunchback of Notre Dame, is a hero. There is nothing quite like the songs from these films and I will forever sing them, lest my heart shrivel and perish.
ONE TIMERS: These are a few composers who I’ve really really enjoyed but I never had heard or have heard of them apart from one soundtrack. Dario Marianelli (music performed by Jean-Yves Thibaudet) (pictured) from the Pride and Prejudice movie has produced one of my favourite ever scores. It is absolutely beautiful and makes me feel physically comforted and contented.
The Miss Pettigrew Lives for a Day composer Paul Englishby was completely unknown to me until I saw this movie. It was genius. It is a scrumptious, cheeky, robust jazz soundtrack, combining my undying love of soundtracks with my fervor for jazz music.
Jerry Goldsmith, composer for Mulan, created delightful Asian themed score for this classic Disney film and was possibly one of the first times I realised my love for the sounds of Asian instruments and soundtracks.
Well there you have it! My favourite composers, styles, scores and soundtracks in a nutshell. I doubt anyone will get as far as this conclusion so I don’t feel any shame in mentioning that this is the conclusion. Or for writing “the end” at the end of this post.
The end.
yeah my dad will like this