DANNY ELFMAN

Well, get back to me once you've seen some of the recommended films outside STEALTH. See UNDER SUSPICION, MONSTER or CATCH AND RELEASE, for example, if you get a chance. All of them brilliant film scores with a keen dramatic sensibility.

He's mostly known in electronica circles for his socalled "stutter edit", which is a sampling device whereby you pick samples apart and edit them back together for rhytmic effect. He's also a master of the nuskool breakbeat, which was all the hots in the hip hop scene in the 90's. Check out his 1999 album "Movement in Still Life" for more examples. Also check out this track from his 2006 album "This Binary Universe". Listen to the whole track - it goes from ethereal to weirdly experimental to almost symphonic.

Here's a nice profile article from Apple.

This is the kind of stuff that interests me most with contemporary film music. This is where I see it at its most promising and exciting. I know advocates of more traditional, orchestral music will probably shiver in disgust, but I don't really care.

Not sure, but there's very much of this music that suits the film medium perfectly. And if it's the dance beats (or breakbeats) you're afraid of, I can promise you that they are never used as a mere gimmick. Besides, CATCH AND RELEASE, for example, barely has a single breakbeat! It's mostly gorgeous, moody, ethereal music.

Yeah, I read that. I can't see any of that in BT's film music, to be honest. Not even your hated STEALTH. I have no problem with you disliking the score, though. It's a free world.

Ulver have done some very effective film works.
Craig armstrong has a good background in the field too from what i remember...http://en.wikipedia.org/wiki/Craig_Armstrong_(composer)
Also Reinhold Heil / Johnny Klimek / Tom Tykwer are good in the field of incorporating such elements in film music.
Same goes for John Murphy's incredible body of work, and Asche and Spencer's although i wish we got more of them.

Do you actually know anyone from here who shares such views? I think we're a pretty varicolored and open-minded group I don't have a problem against BT's (or anyone's) background, i don't have that much of a problem with BT in fact. But with people like PAUL HASLINGER for instance, my problem is their complete lack of dramatic qualities in their supposed film music. It's the product that bothers me personally, not their origin. Proof is that they're lot of classically trained film composers who produce incredibly bad film music from time to time, as well.

I agree. It gets a little confusing on a forum for film music -- are we praising the music itself, or the music's interaction with the picture? The latter is the only thing that's important in the context of cinema, obviously. The fact is, when it works it works. And, of course, orchestral music is not always what works. I like to think of Thomas Newman as the figurehead for the 'anything could work' philosophy. He's clearly unafraid to use whatever sound is appropriate. But I agree that a sensitivity to emotion, subtext, and the language of music is what's needed to score a film... not a PHD in composition. Though it couldn't hurt, could it?

Ah yeah, THE FIGHT CLUB it's very fitting the movie, but makes for a tad annoying listen on album i think. I prefer to listen to Orbital's or Prodigy's solo works on album, instead.

Well, yeah, but rarely actually writing scores. Maybe contributing a track or two, or adding something to a more traditional film composer's music, but not actually writing to picture themselves.

I wonder how would the original idea for scoring Mann's Collateral sound. Zimmer quit due to scheduling conflicts, but originally he was slated to co-score the movie with Oakenfold.

I HOPE, really HOPE that the reason behind the conflict (scheduling) wasn't King Arthur.

I think Zimmer would do mightily fine for Michael Mann, EVEN with Mann's methods of work (which, I personally think is something Zimmer needs to deliver a really good work, rather than his comfort zone, see Malick, even, to an extent, Ridley Scott)

Some of that stuff is good and other bits sounds like songs without lyrics...my point from the previous posts.

WOOT!

Not to be pessimistic, but I just hope they don't cancel it at the eleventh hour like It's Complicated.

Yes. But then it was un-rejected. Please try to keep up.

http://moviescoremagazine.com/2010/01/e … e-wolfman/
http://scoremagacine.blogspot.com/2010/ … lfman.html

But of course. A rejection of Paul Haslinger after he was hired to replace another composer's rejection, only to get the first composer and the rejected score back to the final cut, can only be a good and a ridiculously amusing thing indeed.