Which composers never "clicked" with you?

My first reaction when I think of Darkness Falls is that it consistently good throughout. Then I remember that it's only really "Evil Rises" and "End Titles" that hits the mark!

And if you don't like those cues from Darkness Falls then you're not going to like Timeline! Unlike, Darkness Falls there are numerous outstanding tracks in Timeline - and it's a much better listen than Goldsmith's rejected score.

Angelo Badalementi? I've only heard his "Twin Peaks" and it drives me crazy..

Dario Marianelli? But that's only because I'm only familiar with The Brothers Grimm, I'm sure once I get familiar with some of his more romantically-inclined stuff I'll understand.

David Newman? Thomas Newman? They seem to have WAY too much boring underscore.

Elliot Goldenthal? But only because I lack patience.

Eric Serra? Because he's never done anything notable...

Jerry Goldsmith? (my blasphemous choice) I have over 10 of his scores now...and while I think his sense of melody is PURE GENIOUS, the rest of his scores leave me cold for the most part. Total Recall, for example, I don't understand the attraction, given that it lacks the gorgeous melodies of similar actions scores like Air Force One, First Contact, etc.

John Ottman...do I have to explain?

Michael Giacchino...this one is more iffy because i LOVE some of his stuff...but his more jazz-influenced stuff tends to turn me off. Too many saxophones and such for me. But MoH and Lost!!!!!!

Michael Kamen...I've only heard Three Mustketeers and X-Men and they both bore me to death

Tyler Bates...because he's a thief!!!! lol...just kidding...but only sort of

Maybe not, but is a fun listen. Even if it's full of temp track I can't help to like it.

This is hard... there are a couple of composers I have had trouble with in the past, like Franz Waxman and Thomas Newman (some of you old timers may or may not remember some heated discussions between me and Christian (former forum member) over a certain Shawshank Redemption score...) but mainly, this has passed and especially Waxman I enjoy quite much nowadays. Newman is still... well, let's say that some of his work can play totally unnoted by me.

Then there is a couple of composers which I think I need to listen to more to fully appreciate, like Alexandre Desplat and Michael Giacchino, but I have only heard a couple of scores each, and I think it is too early to really judge yet. But what I have heard have not moved me very much, I must admit.

And I guess the most problematic composer "relationship" of mine is that with Jerry Goldsmith. His music can be so intelligent, so impressive in many ways, but in over half of the cases, the music just fails to move. And I want to be moved, so we have a problem. I still collect his scores, since most of them are rewarding on close listen, but I find that in many cases I need much concentration to get through a Goldsmith score.

But one can't like everything of course.

I think he decided that since he sometimes got so emotionally involved in the discussions here it was best that he did not participate. And I think he wanted more time to work on his book as well (now published). Long time since I heard from him, though. Hope he is allright.

What is it about Steiner that you can't connect with? Gone With the Wind, Now Voyager, Casablanca, Treasure of the Sierra Madre, Caine Mutiny. I'm confused

CONSTANTINE REJECTED (VIDEO FROM THE RECORDING SESSIONS)

http://briantyler.com/video/constantine.html

Here kind Sir, turn the volume up!

If I may butt in for a second:

TREASURE OF THE SIERRA MADRE is quite good, I agree, and I actually have several Steiners in my collection. However, MY big problem with him is twofold: one is the predisposition towards utilizing excerpts from all kinds of traditional songs in his scores, the other is the emphasis on mickey-mousing. Both of these aspects make the listening experience quite "schizophrenic". But obviously, they usually work in their respective movies, and it's not undeserved that he is considered the "father" of modern film music.

As you know Tom, I am familiar with a fair bit of scores from Golden Agers, but there's something about Steiner's writing that doesn't seem to click with me. Sometimes he seems to just try too hard when he composes for film. A bit over the top, forcing emotions out of you rather than coaxing them out.

Does that make any sense?

His scores such as King Kong, She, Johnny Belinda and Helen of Troy I enjoy (as well as a lot of Gone With The Wind) but they all have that forcefulness to a greater or lesser degree.

Rather it has Mancini written all over it. It's basically a revamped version of his Lifeforce theme. Though still changed enough that the pieces can be enjoyed individually.

Nothing too original that score, perhaps temp tracked to bits. But overall it still remains a fantastic listen, to my ears at least.

Peter

I can imagine that composers often have little say in the matter. If a director has his mind set, then there isn't much to do about it, unless he wants to suffer the consequences.

That said, I don't really mind temp tracked compositions. I can enjoy the "Lifeforce" theme and "Summon the worms" as individual compositions, and that's all that matters to me. I don't want to look down on a composer because he has had the misfortune of some director breathing down his neck.

Peter

I have tried to like his music though - really. I didn't leave it at one score, I just haven't gone beyond 5 or so...*sigh*

First Knight is Jerry Goldsmith, not Kamen.

Ok, listen to BAND OF BROTHERS and OPEN RANGE and then we'll talk again. Trust me on this one