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Movie Soundtracks and Their Composers

Started by northernotter3 · · 👁 4 views · 36 replies

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Participants northernotter3ruggedstag84Christian Cox58Sandra Ruiz43dustycanyon6Nicole Vaughncosmicraven2Richard Hernandez13Alex White58Paul Coopermelloweagle26brisknomad6restlesslynxJoseph Thomas4steelstag4northernfalcon30AJose Chase2Michelle Sanchez5Benjamin Thompson96silentharbor88
brisknomad6 brisknomad6 Active Member
222 messages
joined Nov 2012
#21 ·
Hans Zimmer - Blade Runner and Ennio Morricone - The Exorcist
Ennio Morricone
Oldfield - The Exorcist
Voighlander - Big Blue

Snow 🙂 I guess I remember it because of The X-Files
melloweagle26 melloweagle26 Member
11 messages
joined Jan 2004
#22 ·
I see that nobody has broken the silence yet, so I figured I’d be the one to kick things off. 😉

One absolutely does. It’s a truly singular phenomenon. When you step into the arena of cinematic scoring, the sheer, overwhelming scale of the film franchises surrounding... well, it’s nothing short of staggering. James Bond.

Over the last four decades—though it feels like it’s been much longer than that—we’ve seen about twenty films released that have essentially become part of our collective DNA. We all know them inside and out, much like we know the legendary lineage of the franchise itself, from the era of Sean Connery and Roger Moore to the runs led by Timothy Dalton and Pierce Brosnan.

Beyond the standard cinematic tropes, those inevitable, stunning leading ladies, and the deep dives into technical specs, there is one element that remains an absolutely essential pillar of any film experience. There is a certain rhythmic precision required when you pair choreography with film scores—it’s less about mere synchronization and more about a deep, visceral dialogue between movement and sound. When a director hits that sweet spot, the music doesn't just play in the background; it breathes with the actors, dictating the very pulse of the scene. Think about those moments where the visual flow feels almost hypnotic, driven by a score that understands the geometry of the frame. It's much like watching a perfectly executed dance routine where every beat serves as a structural pillar for the motion. If the tempo is off by even a fraction, the entire illusion shatters, leaving you with nothing but a disjointed mess. But when it works? It’s pure cinematic alchemy..

Think about the sheer weight of musical history we’ve inherited—icons like Matt Munro, Shirley Bassey, Tom Jones, and Nancy Sinatra, alongside legends such as Louis Armstrong, Paul McCartney, Lou Lou, Carly Simon, Sheena Easton, and Ricklty Coolidge. You have the driving energy of Duran Duran, A-Ha, Gladys Knight, Tina Turner, Sheryl Crow, Garbage, and even Madonna, all standing alongside that indispensable orchestra led by Monty Norman, who kicked everything off with the legendary "Dr. No"—the track that essentially became the sonic heartbeat of the entire 007 franchise.

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Richard Hernandez13 Richard Hernandez13 Regular
269 messages
joined May 2004
#23 ·
melloweagle26 said:When you think about truly unique phenomena in the world of film scoring, the James Bond series definitely stands in a league of its own.

I mean, just look at John Barry—this guy had such a massive, undeniable impact on nineties pop music. Whether people were performing tributes to his work, sampling his iconic sounds, or just straight-up lifting his melodies (some might say there isn't much difference between the two 😁), his influence was everywhere.
northernotter3 northernotter3 MemberOP
32 messages
joined Dec 2003
#24 ·
Mmda... I tried starting a conversation about the James Bond soundtrack back in that first thread dedicated to film composers, but there wasn't much interest at the time... It’s a shame, really, because the James Bond soundtracks are easily some of the most fascinating, iconic, and incredible pieces of music out there. Looking at the entire series, I honestly feel the music is the standout element—it’s incomparably better than the movies themselves, which, if I'm being honest, are mostly 🙂

If there are any true aficionados here—which James Bond soundtrack holds the top spot for you?
restlesslynx restlesslynx Member
15 messages
joined Feb 2004
#25 ·
When it comes down to the music, there are a handful of composers who have crafted scores that truly resonate with me.

Eric Serra—he possesses such a distinct, signature style with those dark, atmospheric textures you hear in Nikita or Leon, and then again in The Fifth Element, where his imagination was just on another level... he’s easily one of my all-time favorites.

Basil Poledouris - Conan 🙏

Jerry Goldsmith—sure, some might say he churns out music for everything, but I absolutely love that high-octane opening theme from Star Trek: First Contact - Jerry Goldsmith.

James Horner—did an incredible job with the score for Aliens.

Hans Zimmer - Blade Runner is simply essential.

Alan Silvestri - Predator. It's just too good! 🙏

Juno Reactor and that intense chase sequence in The Matrix Reloaded.

And of course, Doldinger and Das Boot...

I also really dig the sequence in 007: Tomorrow Never Dies when they're cruising in the BMW... I believe it's called Backseat Driver. It's a brilliant fusion of that classic James Bond sound modernized with electronic elements, though I can't quite recall the composer.

What really irritates me is how often we're subjected to these uninspired, completely recycled soundtracks that all follow the exact same tired formula.
Joseph Thomas4 Joseph Thomas4 Newcomer
2 messages
joined Jan 2004
#26 ·
I find myself agreeing with much of what’s already been said here. Hans Zimmer - Blade Runner is a masterpiece—both the film and the score—but I won't bore you by repeating the obvious.

Furthermore, in my humble opinion, Howard Shore's work on Lord of the Rings is so monumental it could hold its own in a concert hall right alongside Carmina Burana.

The main theme from Requiem is also nothing short of phenomenal.
northernotter3 northernotter3 MemberOP
32 messages
joined Dec 2003
#27 ·
restlesslynx said:Jerry Goldsmith might just be the guy who writes the ultimate theme for every movie, but I honestly can't get enough of that opening track from Star Trek: First Contact - Jerry Goldsmith.

While Goldsmith’s most famous contribution is undoubtedly the theme for the series Star Trek: The Next Generation, that doesn't even compare to some of his other absolute masterpieces—most notably the incredible soundtrack for an equally fantastic film:
🙏 Gremlins! 👍

He also did such wonderful work on the film First Knight. To be honest, the movie itself isn't nearly as impactful as that standout piece, "Arthur's Farewell"... it's powerful... truly powerful... In fact, Iron Maiden even performed alongside that track during one of the biggest concerts in history back in Rio de Janeiro in 2001.
northernotter3 northernotter3 MemberOP
32 messages
joined Dec 2003
#28 ·
restlesslynx said:It’s such a fantastic blend of that classic James Bond sound mixed with modern electronic elements, though I'm not entirely sure who composed it.

DAVID ARNOLD
steelstag4 steelstag4 Active Member
99 messages
joined Dec 2002
#29 ·
brisknomad6b said:The Big Blue - Voighlander

Voighlander?😕
Actually, Eric Serra did the score for The Big Blue. He usually handles the soundtracks for Besson's films, and honestly, the guy is incredible. 🙂
Personally, The Big Blue soundtrack is my absolute favorite.
Hans Zimmer follows right behind him, along with several others we've already touched on in this thread. If I had to pick someone else you haven't mentioned yet, I’d say Boys on the Side is a great one.
northernfalcon30 northernfalcon30 Active Member
90 messages
joined Sep 2003
#30 ·
Definitely Hans Zimmer - Blade Runner - that's my absolute all-time favorite... life changer.
Ennio Morricone, or even that dark, moody Angelo Badalamenti.
Yeah, I'm with everyone here, everything you guys mentioned... totally agree.
And that one from Lord of the Rings (what was it called again?!).
Das Boot, obviously... but also the good old Top Gun (to get me pumped up)!

Anyway, I love soaking in beautiful film scores, but sometimes—even when I'm just vibing—this one little nugget from high school keeps popping into my head. It was my film professor Danojević saying: "Not a single expressive element of a film, including the music, should jump out at you; everything needs to be woven into one seamless whole." Hmm...
True, sometimes a movie feels like a literal competition between the composer, the costume designer, the set decorator, the actors, the makeup artists, etc... but honestly, who wouldn't forgive breaking that rule if the music is just *that* good?!

You see it in animation too, like Bambi—you could basically listen to that entire movie as its own standalone audio experience.

But then again, if the music is perfectly blended into the whole thing without us even noticing it, doesn't the vibe end up feeling a bit too "perfect"? Like, maybe a little cold? You know, technically flawless, but lacking that... "something"...?? Take Citizen Kane, for example—it's perfect. Everything. The angles, the foreground, background, the score, the acting, the plot, the punchline, the emotions, that sense of childhood nostalgia and everything we spend our lives searching for... yet, it just didn't blow me away (though maybe I really should rewatch it🤔 ).
Alex White58 Alex White58 Newcomer
3 messages
joined Jan 2004
#31 ·
Michael Kamen wasn't playing around; Death(d) becomes a lethal weapon in tracks 1-4.

Say whatever you want, but for me, the standout is the soundtrack from South Park: The Movie.
ruggedstag84 ruggedstag84 Member
10 messages
joined Dec 2003
#32 ·
Alex White58 said:Look, Michael Kamen was actually solid.

The guy scored a ton of movies. Even if he wasn't my absolute favorite composer, you can't ignore him. He passed away recently, and if I remember correctly, he crushed the soundtrack for that incredible series Band of Brothers you can catch on TV right now.
A Anonymous Veteran
3.6K messages
joined May 2005
#33 ·
My personal favorite has to be Angela Badalamenti.
Jose Chase2 Jose Chase2 Active Member
196 messages
joined Sep 2008
#34 ·
Man, how did I manage to miss this thread entirely? 😕

There’s zero doubt about it—Jerry Goldsmith is hands down the greatest.

Just think about his soundtracks—Total Recall, The Omen, The Ghost and the Darkness, Chinatown, Basic Instinct, The Wind and the Lion, Under Fire, Patton, The Boys from Brazil, and The Russia House... pretty incredible list, right?

All those scores he did for Joe Dante's movies...😁

Or what if he was asked to put together a score for Air Force One in just two weeks?

Honestly, I don't think anyone has ever used a soundtrack to boost a movie's rating quite like Nikito has.
Just like he did for The Omen—without his score, I don't think anyone would even remember that movie today.

I mean, obviously—this is a non-negotiable topic for any Star Trek fan. I mean, honestly, who can actually listen to John Williams' Star Wars theme when you've got that Star Trek masterpiece playing?

An absolute genius! Honestly—just stick to listening to guys like John Williams, James Horner, Hans Zimmer, and that crowd.🙂

Anywho, here's my list:

Jerry Goldsmith.

Angelo Badalamenti.
3. Basil Poledouris

A little tribute: Michael Danna's score for "8mm."😛
Michelle Sanchez5 Michelle Sanchez5 Newcomer
9 messages
joined Feb 2003
#35 ·
melloweagle26 said:John Williams—he is hands down one of the most prolific film composers out there! 🙂

Right? And besides him, you've got Howard Shore, who did that incredible work for all three of Peter Jackson's films. Hans Zimmer has started to sound a bit repetitive lately, though—you’ll find yourself spotting his leitmotifs in just about everything he touches these days.

Max Steiner's "Gone with the Wind" from 1939, John Berry, Patrick Doyle, Danny Elfman, Ennio Morricone... Even Vangelis isn't half bad, even if everyone seems to love hating on him.
😁
Benjamin Thompson96 Benjamin Thompson96 Newcomer
2 messages
joined Jan 2004
#36 ·
Basil Poledouris - Conan

And then there's John Williams... I mean, just look at his catalog—it's hard to believe one man could write all that. 🙂

Then you have Ennio Morricone—whether he was hitting the mark or missing it entirely; think of the sweeping landscapes of Once Upon a Time in the West, or the tension in The Untouchables...

As for Danny Elfman... if you haven't sat down with The Nightmare Before Christmas yet, I’d highly recommend it. The soundtrack is brilliant—though, honestly, the film itself deserves a watch too. 🙂

Howard Shore, of course—the entire Lord of the Rings saga. 🙂

And Maurice Jarre...

There are plenty more where those came from, really. 🙂
silentharbor88 silentharbor88 Member
34 messages
joined Apr 2004
#37 ·
So, out of nowhere, three names just popped into my head:

John Williams
Henry Mancini
Nino Rota

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