I’m surprised there isn’t more Danny Elfman on the list. I would think, next to John Williams, he’d be one of the more well-recognized composers. My guesses would have been for Nightmare Before Christmas to crack the top 50.
Scores I might have included that didn’t make this list:
-Hook: I know it has a reputation as a mediocre Spielberg film, but I love the music. It’s by turns beautiful, moving, and fun.
-Glory: Repetitive, perhaps, but the main theme is so moving I don’t mind hearing the infinite variations over and over again.
-Candyman: A strangely dreamy, elegaic score by Philip Glass.
-Bride of Frankenstein: This eerily beautiful score by Franz Waxman, built on a three-note theme, nails the oneiric tone of early Universal monster movies.
-Edward Scissorhands: Elfman treats Burton’s offbeat and intensely personal suburban fantasy like a ballet. Some may find it sappy, but I never fail to tear up.
-Bram Stoker’s Dracula: A melodramatic, over-the-top Gothic orgy that’s every bit as lush and vibrant as the film
-Planes, Trains, and Automobiles: A score that is very much of its time for a movie with the same quality. So it’s synth-heavy, and not in the way that’s making a comeback (like those done in the style of John Carpenter or a Michael Mann film), but every time I see the movie I have the themes stuck in my head for days
Just a bit disappointed there’s no Thomas Newman on here. The movie itself doesn’t quite hold up 16 years later, but his score for American Beauty is so haunting and beautiful… oh well. I’m at least glad the BP crowd threw Goblin’s masterful score for Suspiria in the top 25.
As someone who didn’t vote, I shall complain and agree with Caleb about the lack of Thomas Newman. He’s my all-time favorite. I would have voted The Shawshank Redemption in there if I had been a more responsible BP listener.
I’m surprised there isn’t more Danny Elfman on the list. I would think, next to John Williams, he’d be one of the more well-recognized composers. My guesses would have been for Nightmare Before Christmas to crack the top 50.
Scores I might have included that didn’t make this list:
-Hook: I know it has a reputation as a mediocre Spielberg film, but I love the music. It’s by turns beautiful, moving, and fun.
-Glory: Repetitive, perhaps, but the main theme is so moving I don’t mind hearing the infinite variations over and over again.
-Candyman: A strangely dreamy, elegaic score by Philip Glass.
-Bride of Frankenstein: This eerily beautiful score by Franz Waxman, built on a three-note theme, nails the oneiric tone of early Universal monster movies.
-Edward Scissorhands: Elfman treats Burton’s offbeat and intensely personal suburban fantasy like a ballet. Some may find it sappy, but I never fail to tear up.
-Bram Stoker’s Dracula: A melodramatic, over-the-top Gothic orgy that’s every bit as lush and vibrant as the film
-Planes, Trains, and Automobiles: A score that is very much of its time for a movie with the same quality. So it’s synth-heavy, and not in the way that’s making a comeback (like those done in the style of John Carpenter or a Michael Mann film), but every time I see the movie I have the themes stuck in my head for days
Just a bit disappointed there’s no Thomas Newman on here. The movie itself doesn’t quite hold up 16 years later, but his score for American Beauty is so haunting and beautiful… oh well. I’m at least glad the BP crowd threw Goblin’s masterful score for Suspiria in the top 25.
As someone who didn’t vote, I shall complain and agree with Caleb about the lack of Thomas Newman. He’s my all-time favorite. I would have voted The Shawshank Redemption in there if I had been a more responsible BP listener.
No Dragonheart? NO DICE!
I was hoping Michael Nyman would make an appearance on the list, and I didn’t even know he contributed to Ravenous (which I haven’t seen).
also, c’mon: First Blood has a great score. https://www.youtube.com/watch?v=FyPGjDCO4KY
And that’s not even the main theme! Goldsmith, baby!