Match Cut's Top 30 Scores: The Results

[Barty]

This will be different than we usually do.

The Results

#30-21 (http://youtube.com/watch?v=2UttkJhsv2U)

#20-11 (http://youtube.com/watch?v=jm9Zr_FqBuQ)

#10-1 (http://youtube.com/watch?v=vTFPdfQZIGA)

Click the Link.

[Spinal]

What fun! Awesome job. I love the snippet that you selected for Star Wars.

[Stay Puft]

Holy shit. Great idea. Awesome work. Etc.

I love it.

[Barty]

Thanks guys! :)

I'm working on the next one right now.

[dreamdead]

Very nice and innovative construction. I'm worried that Contempt's score is doomed to miss the final cut, but otherwise things look to be as expected. American-heavy, though that's to be expected...

[Spinal]

Very nice and innovative construction. I'm worried that Contempt's score is doomed to missed the final cut, but otherwise things look to be as expected. American-heavy, though that's to be expected...

John Williams-heavy. :)

[dreamdead]

John Williams-heavy. :)

Same difference. :) As long as one of Michael Nyman's scores makes it, I'll be content.

[Bosco B Thug]

Oooh.

[Philosophe_rouge]

AWESOME idea Barty, really the best way to treat the results.

I'm really happy The Wizard of Oz and Elevator to the Gallows made it. I can't believe I forgot how awesome Fargo's score is

[megladon8]

This is awesome :) You put a lot of work into this.

[Kurosawa Fan]

I'll keep the redundancies going by saying this is an awesome way of presenting the results. Nicely done Barty.

[Barty]

I think my rep just doubled. :lol:

:pritch:

[Melville]

I'll keep the redundancies going...
Me too. Great job.

[chrisnu]

This. Is. Awesome.

Thank you, Barty! :)

[origami_mustache]

Very awesome...nice work.
I'm surprised by some of the rankings.

[balmakboor]

This sets a new standard for these sorts of things. Very nice.

[Barty]

More

#20-11 (http://youtube.com/watch?v=jm9Zr_FqBuQ)

[monolith94]

Wicked cool. Just, wicked cool.

[Rowland]

Great work!

[dreamdead]

Hooray for Herrmann's Vertigo and Umebayashi's In the Mood for Love. Delicious scores, those two.

[Stay Puft]

Akira! I didn't think it'd make it. Awesome.

[Philosophe_rouge]

Some of my favourites made this part of the list, amazingly happy to see Lawrence of Arabia, In the Mood for Love and Vertigo.

[Qrazy]

Hooray for Herrmann's Vertigo and Umebayashi's In the Mood for Love. Delicious scores, those two.

Agreed, nice work Bartholemieux

[jesse]

Errr... technically that clip from from In the Mood for Love shouldn't have qualified for this poll, as "Yumeji's Theme," the lovely Umebayashi Shigeru waltz that everyone remembers, was actually the main theme for Seijun Sezuki's Yumeji (http://www.imdb.com/title/tt0103316/).

I kind of had a feeling that was goint to happen--I happen to like Michael Galasso's contributions to the score, but I kind of doubt that it would have made the list without the strength of "Yumeji's Theme."

As it stands, it's the best score on the list.

[jesse]

Even though I didn't vote out of protest of the quality of scores nominated (and the video didn't change my mind), but I have to voice everyone else that it's an amazing presentation. Well done.

[Watashi]

Even though I didn't vote out of protest of the quality of scores nominated (and the video didn't change my mind), but I have to voice everyone else that it's an amazing presentation. Well done.

Hook's score > You

[Qrazy]

Even though I didn't vote out of protest of the quality of scores nominated (and the video didn't change my mind), but I have to voice everyone else that it's an amazing presentation. Well done.

What are your noms?

[jesse]

What are your noms?

The Age of Innocence - Elmer Bernstein
The Bad and the Beautiful - David Raksin
Barbarella - Michel Magne
Birth - Alexandre Desplat
Contempt - Georges Delerue
Don't Look Now - Pino Donaggio
Down to the Sea in Ships - Alfred Newman
Fahrenheit 451 - Bernard Herrmann (my favorite of his scores)
Forever Amber - David Raksin
Hiroshima mon amour - Georges Delerue and Giovanni Fusco
The Hours - Philip Glass
Jezabel - Max Steiner
Laura - David Raksin
Lucifer Rising - Bobby Beausoleil
A Man and a Woman (Une Homme et une femme) - Francis Lai
The Mission - Ennio Morricone
Nashville - Various
Peyton Place - Franz Waxman (probably my all-time fave score)
A Place in the Sun - Franz Waxman
Psycho - Bernard Herrmann
Red Pony - Aaron Copland
The Royal Tenenbaums - Mark Mothersbaugh (yes, I know what I'm nominating--I happen to love the underscore)
Spellbound - Miklos Rozsa
Trois Coleurs: Bleu - Zbigniew Preisner
Trouble Every Day - The Tindersticks
Umbrellas of Cherbourg - Michel Legrand
The Village - James Newton Howard

and then a few days later...

In: The Magnificent Seven - Elmer Berstein (about as iconic as you can get)

Out: A Place in the Sun - Franz Waxman

[jesse]

Hook's score > You And that barely even made the list. :cry:

;)

[Qrazy]

Haven't seen:

The Bad and the Beautiful - David Raksin
Barbarella - Michel Magne
Birth - Alexandre Desplat
Down to the Sea in Ships - Alfred Newman
Fahrenheit 451 - Bernard Herrmann (my favorite of his scores)
Forever Amber - David Raksin
The Hours - Philip Glass
Jezabel - Max Steiner
Lucifer Rising - Bobby Beausoleil
A Man and a Woman (Une Homme et une femme) - Francis Lai
The Mission - Ennio Morricone
Peyton Place - Franz Waxman (probably my all-time fave score)
A Place in the Sun - Franz Waxman
Red Pony - Aaron Copland
Trouble Every Day - The Tindersticks

Yes:

Contempt - Georges Delerue
Hiroshima mon amour - Georges Delerue and Giovanni Fusco
Psycho - Bernard Herrmann
Trois Coleurs: Bleu - Zbigniew Preisner

No:

Don't Look Now - Pino Donaggio
Laura - David Raksin
Nashville - Various
Umbrellas of Cherbourg - Michel Legrand
The Village - James Newton Howard
Spellbound - Miklos Rozsa
The Royal Tenenbaums - Mark Mothersbaugh

[Philosophe_rouge]

I love Laura's score, I unfortunately forgot to nominate though... so it's pretty much my fault it didn't make the cut.

[jesse]

No:

Don't Look Now - Pino Donaggio
Laura - David Raksin
Nashville - Various
Umbrellas of Cherbourg - Michel Legrand
The Village - James Newton Howard
Spellbound - Miklos Rozsa
The Royal Tenenbaums - Mark Mothersbaugh Hmmm... well I can understand that Nashville's score definitely comes down to a matter of taste, and while I don't hold that The Village and Spellbound as films don't qualify for anything resembling a "best of" list when you listen to them they're really excellent. I didn't expect others to vote for Tenenbaums, but I truly love the underscoring for that film.

But I don't know how somebody couldn't like "Laura's Theme," and if you didn't like the score I'm guessing you didn't like Umbrellas of Cherbourg as a film (which is your loss).

And to clarify, the real reason why I didn't vote (which I actually stated in the voting thread) is that I'd seen maybe 1/3 of the scores, and could specifically remember the music in less than that. In a situation like that I don't find it ethical to vote (even though I doubt my votes would have changed much of anything one way or the other).

I think it's telling that 90% of the films that made it on the final list--and to the voting round, frankly--were all the modern blockbuster, bombastic, John Williams-esque scores, which I don't necessarily find to be good music or good scoring. And if anything, a "best of" list should at least have a little more range...

[Barty]

Hmmm... well I can understand that Nashville's score definitely comes down to a matter of taste, and while I don't hold that The Village and Spellbound as films don't qualify for anything resembling a "best of" list when you listen to them they're really excellent. I didn't expect others to vote for Tenenbaums, but I truly love the underscoring for that film.

But I don't know how somebody couldn't like "Laura's Theme," and if you didn't like the score I'm guessing you didn't like Umbrellas of Cherbourg as a film (which is your loss).

And to clarify, the real reason why I didn't vote (which I actually stated in the voting thread) is that I'd seen maybe 1/3 of the scores, and could specifically remember the music in less than that. In a situation like that I don't find it ethical to vote (even though I doubt my votes would have changed much of anything one way or the other).

I think it's telling that 90% of the films that made it on the final list--and to the voting round, frankly--were all the modern blockbuster, bombastic, John Williams-esque scores, which I don't necessarily find to be good music or good scoring. And if anything, a "best of" list should at least have a little more range...

The final list has enormous range. Without revealing the final 10, only about 33% of the scores on the list are "bombastic", and even then they aren't pure bombast. Not even the John Williams scores, which are never, ever pure bombast.

[jesse]

The final list has enormous range. Without revealing the final 10, only about 33% of the scores on the list are "bombastic", and even then they aren't pure bombast. Not even the John Williams scores, which are never, ever pure bombast. I'm sorry, I feel like I'm coming off as the whiny poor sport here, and I really don't mean that. I just was really into film scoring at one point, and made a lot of effort to track down scores and stuff. And as I said before, I think the presentation of this list is phenomenal, even if it just further emphasized my thoughts on the actual music that made the cut.

I really don't know how the lack of range can be argued against. Granted, unless GWtW and/or Alexander Nevsky make the top ten, we'll only have one pre-1950 score to make the list (Wizard of Oz). Maybe I'm missing something, but it looks like Vertigo will be our token 1950's score. There's a few more from the 60's and more from the 70's... with the 90's and 00's being by far the most representative on the list.

And as for the music itself, I know for a fact that (aside from potentially GWtW) no a single period film, a very fertile area for film scoring, won't be represented. A number of the greats in the field didn't even make the voting ballot. Only a small handful of scores from foreign-language films were up for voting. I don't begrudge anybody loving all the scores on the final list, but I stand by my assertion that it's essentially limited one.

[Qrazy]

Hmmm... well I can understand that Nashville's score definitely comes down to a matter of taste, and while I don't hold that The Village and Spellbound as films don't qualify for anything resembling a "best of" list when you listen to them they're really excellent. I didn't expect others to vote for Tenenbaums, but I truly love the underscoring for that film.

But I don't know how somebody couldn't like "Laura's Theme," and if you didn't like the score I'm guessing you didn't like Umbrellas of Cherbourg as a film (which is your loss).

And to clarify, the real reason why I didn't vote (which I actually stated in the voting thread) is that I'd seen maybe 1/3 of the scores, and could specifically remember the music in less than that. In a situation like that I don't find it ethical to vote (even though I doubt my votes would have changed much of anything one way or the other).

I think it's telling that 90% of the films that made it on the final list--and to the voting round, frankly--were all the modern blockbuster, bombastic, John Williams-esque scores, which I don't necessarily find to be good music or good scoring. And if anything, a "best of" list should at least have a little more range...

I like and listen to Tenenbaums score a fair bit, but I just wouldn't put it on a top 50. My No's have more to do with whether or not I think the score's are top 50 worthy, not whether or not I like or dislike them.

Nashville's score works well in the context of the film, but as a stand alone score I wouldn't put it on a top list.

I like Umbrellas, I just much prefer Rochefort as a film and as a score. I also like Legrand's score for Cleo from 5 to 7 more than Umbrellas.

I agree that it would be nice if there were more mood setting scores on the list, but it's just kind of the nature of the medium that Williams-esque scores tend to stick out more in one's memory. There would need to be weighting I think to change this fact. I'm quite glad Jon Brion's score for Punch-Drunk Love made the cut.

[Qrazy]

And as for the music itself, I know for a fact that (aside from potentially GWtW) no a single period film, a very fertile area for film scoring, won't be represented. A number of the greats in the field didn't even make the voting ballot. Only a small handful of scores from foreign-language films were up for voting. I don't begrudge anybody loving all the scores on the final list, but I stand by my assertion that it's essentially limited one.

Yeah, The Mission's score deserves some respect.

[Barty]

I'm sorry, I feel like I'm coming off as the whiny poor sport here, and I really don't mean that. I just was really into film scoring at one point, and made a lot of effort to track down scores and stuff. And as I said before, I think the presentation of this list is phenomenal, even if it just further emphasized my thoughts on the actual music that made the cut.

I don't mean to be mean. :)

I think we're not on the same level. I'm talking more about the diversity of styles, not the era's they are from.


I really don't know how the lack of range can be argued against. Granted, unless GWtW and/or Alexander Nevsky make the top ten, we'll only have one pre-1950 score to make the list (Wizard of Oz). Maybe I'm missing something, but it looks like Vertigo will be our token 1950's score. There's a few more from the 60's and more from the 70's... with the 90's and 00's being by far the most representative on the list.

I think of all the parts of film, scoring was the latest bloomer. It wasn't until Steiner's King Kong score that they truly took on another level. I'll be honest, I think scoring is better now than it was in the 30's, 40's, and 50's. There are few scores from those era's that I think are truly phenomenal. GWtW and Alexander Nevsky being some of them actually. I think many of the early film composers cluttered their music too much, and honestly a whole ton of it simply isn't memorable. Granted, these list will always be skewed to modern movies, but I believe in the case of scores that the modern era would still be held in higher regard even if everyone had a huge knowledge base about the history of scoring like you and me.


And as for the music itself, I know for a fact that (aside from potentially GWtW) no a single period film, a very fertile area for film scoring, won't be represented. A number of the greats in the field didn't even make the voting ballot. Only a small handful of scores from foreign-language films were up for voting. I don't begrudge anybody loving all the scores on the final list, but I stand by my assertion that it's essentially limited one.

I definitely have issues with the final results, like you. Many great scores and some of my favorites didn't do well. But many did do great, and that's just how these lists always work out. :pritch:

[Mysterious Dude]

I tried to come up with some pre-50's scores for my nominations, but I just couldn't recall anything memorable. I felt like I was trying to use affirmative action or something.

The problem I have with most movie scores, even today, is that they don't use modern music styles. They tend to mimic 18th century classical music. I know there was great music created in the 1930's, but I wouldn't know it from watching the movies of the time.

[Qrazy]

I tried to come up with some pre-50's scores for my nominations, but I just couldn't recall anything memorable. I felt like I was trying to use affirmative action or something.

The problem I have with most movie scores, even today, is that they don't use modern music styles. They tend to mimic 18th century classical music. I know there was great music created in the 1930's, but I wouldn't know it from watching the movies of the time.

I see where you're coming from but overall I opt for the opposite outlook. Cinema has become one of the last refuges for classical music... in terms of finding a wide audience that is. There's a timeless emotive quality to orchestral music that most music simply can't reach (i.e. the 80's). Perhaps because classical composers are often the most knowledgeable, historically and technically about the medium of music. I don't mean to imply that others aren't also equally knowledgeable... jazz in particular... or that technical knowledge is the only basis for good music... often the best music tends to be incredibly simple (Great deal of blues, etc). I guess all I'm saying is that a filmmaker should put in whatever music they feel best fits the tone of the film, and often classical is the best choice to make.

[Barty]

I fall in the middle of Antoine's and Q's views. Although preference wise I do love my classical.

I love orchestral scores, but I also love some modern scores. Blade Runner is far from a Williams score, but it's spectacular.

[Mysterious Dude]

Perhaps because classical composers are often the most knowledgeable, historically and technically about the medium of music.You are probably right about this, and a knowledge of music and music history is something that I suspect a lot of modern music-makers lack.

I just think that filmmakers put themselves into a box. Not just with the kind of music they use, but the kind of stories they tell -- they're all basically 19th century plays -- etc. There's so much possibility in film, and filmmakers willingly limit themselves. I guess that's a different issue, though.

[Barty]

#10-1 (http://youtube.com/watch?v=vTFPdfQZIGA)

[Qrazy]

#10-1 (http://youtube.com/watch?v=vTFPdfQZIGA)

*standing ovation*

My only suggestion is to now post the full list for reference, but I'm guessing you were probably going to anyway.

[origami_mustache]

Solid top ten...
I guess the only major disappointments I had were Superfly, Contempt, and 8 1/2 not making the list.

[Bosco B Thug]

It's great with the snippets! I'm glad repetitive zither music has its supporters! jk I love The Third Man and its score.


Solid top ten...
I guess the only major disappointments I had were Superfly, Contempt, and 8 1/2 not making the list. Ooh, Superfly. That would've ecclectic-ized the list. Love that soundtrack (although that might've contributed to my subsequent disappointment once I watched the actual movie).

[Spinal]

:lol:

Awesome ending.

Top ten was great, I thought. Particularly glad to see Nyman and Einhorn show up. Can't argue with #1.

[Barty]

Easy to rate!

1. The Good, The Bad and the Ugly – Ennio Morricone
2. Psycho - Bernard Herrmann
3. Requiem for a Dream - Clint Mansell
4. The Passion of Joan of Arc: Voices of Light - Richard Einhorn
5. Schindler's List - John Williams
6. The Third Man - Anton Karas
7. The Empire Strikes Back -- John Williams
8. Once Upon A Time in the West - Ennio Morricone
9. Dead Man -Neil Young
10. A Zed and Two Noughts -- Michael Nyman
11. The Pink Panther -- Henry Mancini
12. Vertigo – Bernard Herrmann
13. Raiders of the Lost Ark - John Williams
14. In The Mood For Love - Shigeru Umebayashi
15. Taxi Driver - Bernard Herrmann
16. Akira - Shoji Yamashiro
17. The Fountain - Clint Mansell
18. The Godfather – Nino Rota
19. Lawrence of Arabia - Maurice Jarre
20. Amelie - Yann Tiersen
21. Fargo - Carter Burwell
22. Star Wars – John Williams
23. Glory - James Horner
24. Punch Drunk Love -Jon Brion
25. Elevator to the Gallows - Miles Davis
26. Blade Runner - Vangelis
27. The Lord of the Rings: The Return of the King - Howard Shore
28. The Wizard of Oz – Harold Arlen
29. Koyaanisqatsi -- Phillip Glass
30. Hook - John Williams [Tie]
30. Superman - John Williams [Tie]

[Barty]

Thanks for all the positive comments everyone. :) Definitely made the couple of hours it took to make the videos worth it.

[Qrazy]

Solid top ten...
I guess the only major disappointments I had were Superfly

Blahahahaha oddly enough I watched that film a couple weeks ago and then went out to a local bar last Friday and lo and behold... The Pusha Man was kickin' the toons.

[monolith94]

Hilarious clip from tGtB&tU at the very end! Cool!

Seeing the amount of work put into this really makes me wish I had taken the time to vote. :(

[Philosophe_rouge]

FUCK YEA, The Third MAN!

Great list, and again wonderful work Barty. I really need to rewatch La Passion de Jeanne D'Arc with the score... My favourite part of the Psycho score is fo sho when she's in the car... and #1 Yea, can't go wrong with that... too delicious.

[Raiders]

I'm not big on most John Williams stuff, at least not compared to other people, but I have always loved his score for Jurassic Park. Of course, that one doesn't even make the list.

Yay for Miles Davis and Neil Young, though.

[balmakboor]

I'll have to wait until I get home to watch 1-20 because my workplace blocks YouTube (those bastards). I'm sure their presentation is as great as 21-30 though.

I think there is a fair amount of range on the list and some of my faves made it. I do have three comments:

The music selected for Koyaanisqatsi really doesn't do it justice. I just rewatched it last week and the whole thing just blew me away all over again. I would have gone with a combination of the fast music as the pace of human life approaches the breaking point and the music playing as the rocket launches and explodes near the end.

I just noticed that Jaws didn't make the list. WTF guys?

My all-time favorite score didn't make it. I've been in love with Ry Cooder's contribution to Paris, Texas since first hearing the opening few bars in a theater back in 1984. I can only think that not many people voting have heard it.

[Spinal]

If Hook had finished in 40th place, would this be a list of the top 40 scores?

[jesse]

I don't mean to be mean. :)

I think we're not on the same level. I'm talking more about the diversity of styles, not the era's they are from. Cool. You weren't being mean, I just wanted to clarify that I wasn't trying to be a poor sport.

But I think that different eras inherently brings with it different styles, because as you note below, scoring has evolved along with all other aspects of cinema. And I suppose it's the nature of the beast in a situation like this that "loud" scores--the ones that really draw attention to themselves--are going to receive more attention. A really good "quiet" score, and one I completely forgot to nominate myself is Thomas Newman's score for Little Women (http://www.youtube.com/watch?v=A2aZyYi5aes). I don't really see an equivalent on our list, though perhaps In the Mood for Love would qualify.


I think of all the parts of film, scoring was the latest bloomer. It wasn't until Steiner's King Kong score that they truly took on another level. I'll be honest, I think scoring is better now than it was in the 30's, 40's, and 50's. There are few scores from those era's that I think are truly phenomenal. GWtW and Alexander Nevsky being some of them actually. I think many of the early film composers cluttered their music too much, and honestly a whole ton of it simply isn't memorable. Granted, these list will always be skewed to modern movies, but I believe in the case of scores that the modern era would still be held in higher regard even if everyone had a huge knowledge base about the history of scoring like you and me. Well, we have completely opposite opinions here. I think that most of the composers of the classic era were classically trained composers makes a world of difference in the quality of the scores they produced, though perhaps that's just a matter of taste.

On the other hand, even though classical training of film composers worked for them, there's an important historical factor I don't think you're taking into consideration when you say film scores are better now than they were in the 30's - 50's. And that's the fact that composers were essentially workhorses. Take a glance at Max Steiner's IMDb Page (http://www.imdb.com/name/nm0000070/). He's credited for no more than 271 scores, and that's not including some 260 were he's listed as an "uncredited" contributer. Apart from his lovely waltz for Jezebel I'm actually not much of a fan of Steiner (I don't even care for GWtW's score much, to be honest), but I have to admit, if you're writing 11 scores a year (as he did in 1938, of which Jezebel was one of them), quality is bound to suffer to some degree (and that's probably the reason why a lot of Steiner's work is rather repetitive). But consider, what if Wiliams or Mansel or Shore or whoever was required to do that now...

But even without that factor, I think there was still a lot of beautiful music coming out of classic Hollywood composers. Here are two of my favorites:

The Red Pony (http://download.yousendit.com/F9FA90EA3BEAD83D)
Peyton Place (http://download.yousendit.com/07671FC1252242E3)

Not that I expect them to change any opinions, mind you...


I definitely have issues with the final results, like you. Many great scores and some of my favorites didn't do well. But many did do great, and that's just how these lists always work out. :pritch: Yes of course. But there always has to be a dissenting voice, right? ;)

[Raiders]

I just noticed that Jaws didn't make the list. WTF guys?

Yeah, that is pretty bad.


My all-time favorite score didn't make it. I've been in love with Ry Cooder's contribution to Paris, Texas since first hearing the opening few bars in a theater back in 1984. I can only think that not many people voting have heard it.

I put it in on the first round, but didn't vote at all in the second. Maybe I should have.

[jesse]

I like and listen to Tenenbaums score a fair bit, but I just wouldn't put it on a top 50. My No's have more to do with whether or not I think the score's are top 50 worthy, not whether or not I like or dislike them. Well, it might come off as lite, but any score that references Georges Enesco automatically qualifes as kick-ass in my book.


Nashville's score works well in the context of the film, but as a stand alone score I wouldn't put it on a top list. Perhaps I'm dorky, but I actually listen to the Nashville score quite a bit. If anything, Ronnee Blakely's numbers are legitimately great. By any standard.


I like Umbrellas, I just much prefer Rochefort as a film and as a score. I also like Legrand's score for Cleo from 5 to 7 more than Umbrellas. As a film, I actually prefer Rochefort as well, but it's been so long I can't remember the score. I consider Cleo to be one of my favorite films, and actually watched it again fairly recently, but I didn't notice the score. But to be fair, I was specifically focusing on other elements of the film for something I was writing.

[Bosco B Thug]

Perhaps I'm dorky, but I actually listen to the Nashville score quite a bit. If anything, Ronnee Blakely's numbers are legitimately great. By any standard. I find great joy in playing Tapedeck In His Tractor to unsuspecting people. Memphis also I can't seem to get enough of (although Karen Black is very noticeably not a singer, though she gives a good effort).


Great list and all, but I'm sore at the lack of the Goldsmith. The Omen, people!

[Barty]

If Hook had finished in 40th place, would this be a list of the top 40 scores?

No. :lol:

When I was going down the list, looking at the points and ranking them, it barely made it. I was thrilled with it's 30th place tie. :lol:

[Watashi]

Good list. The Pink Panther is WAY too high... it's pretty ridiculous. Again, with the exception of Akira, no animated films made the list. C'mon guys, I'm disappointed. Also, no Zimmer, Howard, Newman, Goldsmith, or Elfman. Bah! BAH!

[Barty]

And yeah, Jaws had the second most votes during the nomination phase but didn't make it. I was pretty stunned.

The Mission also had a lot of nominations, but little votes in the end.

[Watashi]

No. :lol:

When I was going down the list, looking at the points and ranking them, it barely made it. I was thrilled with it's 30th place tie. :lol:

Uh, indeed. I would have negative repped you if it didn't make it.

[Spinal]

Good list. The Pink Panther is WAY too high... it's pretty ridiculous. Again, with the exception of Akira, no animated films made the list. C'mon guys, I'm disappointed. Also, no Zimmer, Horner, Newman, Goldsmith, or Elfman. Bah! BAH!

What??? Pink Panther is a top 5 score easily. I thought it was too low.

[Watashi]

What??? Pink Panther is a top 5 score easily. I thought it was too low.
Er...no. Not above the scores mentioned.

[Watashi]

1. The Good, The Bad and the Ugly – Ennio Morricone - Duh
2. Psycho - Bernard Herrmann - Iconic stuff
3. Requiem for a Dream - Clint Mansell - No... way overrated
4. The Passion of Joan of Arc: Voices of Light - Richard Einhorn - Pretty much the greatest score evah
5. Schindler's List - John Williams - Genius
6. The Third Man - Anton Karas - It's awesome, if overpraised
7. The Empire Strikes Back -- John Williams - The best from the Master
8. Once Upon A Time in the West - Ennio Morricone - Morricone's best
9. Dead Man -Neil Young - Good, but nowhere near the Top 50 let alone a Top 10
10. A Zed and Two Noughts -- Michael Nyman - I guess it's good... don't know why it's this high
11. The Pink Panther -- Henry Mancini - Uh, no... why is this here?
12. Vertigo – Bernard Herrmann - Another Top Ten score
13. Raiders of the Lost Ark - John Williams - Classic, Top Ten easily
14. In The Mood For Love - Shigeru Umebayashi - Good, if repetitive
15. Taxi Driver - Bernard Herrmann - I like it, but it's a bit high
16. Akira - Shoji Yamashiro - Good, but seriously... no Hisashi?
17. The Fountain - Clint Mansell - Awesome, but maybe a tad new
18. The Godfather – Nino Rota - I always never really cared for this score that much
19. Lawrence of Arabia - Maurice Jarre - Classic
20. Amelie - Yann Tiersen - It's better than the movie
21. Fargo - Carter Burwell - Good, but not Burwell's best
22. Star Wars – John Williams - Even more awesome
23. Glory - James Horner - Awesome
24. Punch Drunk Love -Jon Brion - Ugh, no
25. Elevator to the Gallows - Miles Davis - Eh
26. Blade Runner - Vangelis - Great
27. The Lord of the Rings: The Return of the King - Howard Shore - FOTR is better
28. The Wizard of Oz – Harold Arlen - Classic stuff
29. Koyaanisqatsi -- Phillip Glass - Pretty good
30. Hook - John Williams [Tie] - WAY too low
30. Superman - John Williams [Tie] - WAY too low

[Raiders]

9. Dead Man -Neil Young - Good, but nowhere near the Top 50 let alone a Top 10
10. A Zed and Two Noughts -- Michael Nyman - I guess it's good... don't know why it's this high
11. The Pink Panther -- Henry Mancini - Uh, no... why is this here?
18. The Godfather – Nino Rota - I always never really cared for this score that much
25. Elevator to the Gallows - Miles Davis - Eh

You make me sick. These are better than every Williams score on that list.

[Stay Puft]

but seriously... no Hisashi?

A bummer, indeed. You should have put Princess Mononoke in Tier I!

Agreed about LOTR, too. I enjoy the FOTR score but felt it was downhill from there. I'm surprised ROTK made it but not the first two.

Did I forget to vote for The Mission? That was my bad.

[Barty]

You make me sick. These are better than every Williams score on that list.

:lol::lol::lol::lol::lol:

[Watashi]

You make me sick. These are better than every Williams score on that list.
Yeah, that's hilarious.

[Sycophant]

Man. I didn't realize we liked Williams so much. These days, I'm fairly lukewarm on him. Major points for the Morricone love, though.

And, of course, Barty. This all rocks. Thanks.

I'm regretting not participating now, though once I missed the nomination stage, I decided that I couldn't get in on the voting. There's a disturbing lack of Hisaishi here, in particular.

The fact that Wats put the word "Eh" next to the words "Miles Davis" makes me sad, though I'll admit to not having seen the Malle film.

[Raiders]

Yeah, that's hilarious.

The man who can call Miles Davis "eh" has no room to talk.

[Watashi]

The man who can call Miles Davis "eh" has no room to talk.

I like Miles Davis, I just don't find the score to be Top 30 worthy. Same with Neil Young. I prefer my scores to be more orchestral.

It's not like I'm alone on my Williams love. He is the most iconic film composer for a reason.

[Barty]

1. The Good, The Bad and the Ugly – Ennio Morricone - *****
Yeah, can't argue

2. Psycho - Bernard Herrmann - *****
Same as above

3. Requiem for a Dream - Clint Mansell - ****1/2
A little too high

4. The Passion of Joan of Arc: Voices of Light - Richard Einhorn - *****
Glad to see it getting the respect it deserves

5. Schindler's List - John Williams - *****
Williams best dramatic score

6. The Third Man - Anton Karas - N/A
Gotta revist it

7. The Empire Strikes Back -- John Williams - *****
Duh.

8. Once Upon A Time in the West - Ennio Morricone - *****
Duh.

9. Dead Man -Neil Young - N/A
I listened to some of it when it got so much votes, and I don't know..

10. A Zed and Two Noughts -- Michael Nyman - ****1/2
Probably about 99% of the reason I enjoyed watching the film itself :)

11. The Pink Panther -- Henry Mancini - ****
Eh.

12. Vertigo – Bernard Herrmann - *****
Classic.

13. Raiders of the Lost Ark - John Williams - *****
Williams best score

14. In The Mood For Love - Shigeru Umebayashi - N/A
Need to give it a good listen

15. Taxi Driver - Bernard Herrmann - ****1/2
Dark and deliciously moody

16. Akira - Shoji Yamashiro - N/A
Gotta give it a good listen, though I've liked what I heard

17. The Fountain - Clint Mansell - ****
It's getting a little too much praise for my taste

18. The Godfather – Nino Rota - *****
Despite the fact it's stolen from another Rota film, it still is brilliant

19. Lawrence of Arabia - Maurice Jarre - *****
Evocative and powerful

20. Amelie - Yann Tiersen - N/A
Gotta give it another listen

21. Fargo - Carter Burwell - ****1/2
Definitely a masterful theme and orchestration

22. Star Wars – John Williams - *****
DUH

23. Glory - James Horner - *****
One of Horner's classic scores

24. Punch Drunk Love -Jon Brion - N/A
A lot of the music annoyed me when I first saw the film, so I'll have to revist it.

25. Elevator to the Gallows - Miles Davis - N/A
Gotta take it out for a spin

26. Blade Runner - Vangelis - *****
The best electronic score of all time

27. The Lord of the Rings: The Return of the King - Howard Shore - *****
The greatest score of all time

28. The Wizard of Oz – Harold Arlen - ****1/2
The songs are probably the highlight of the music

29. Koyaanisqatsi -- Phillip Glass - ****
I like Powaqqatsi better

30. Hook - John Williams [Tie] - *****
Williams most underrated score, one of the great fantasy/adventure scores ever

30. Superman - John Williams - *****
The best superhero scores yet written

[Barty]

Agreed about LOTR, too. I enjoy the FOTR score but felt it was downhill from there. I'm surprised ROTK made it but not the first two.



:|

I can tell you, after hours and hours of pouring over the masterwork that is the music to the Lord of the Rings, Shore doesn't loose one beat throughout the films.

[Spinal]

11. The Pink Panther -- Henry Mancini - ****
Eh.


Et tu, Bart?

[Raiders]

It's not like I'm alone on my Williams love. He is the most iconic film composer for a reason.

Because he makes good scores for Steven Spielberg, one of the most respected and well known filmmakers in the world, and makes the kind of florid orchestral music that is easily acknowledged as appropriate classical music for the Academy Awards?

[Barty]

Et tu, Bart?

I need to listen to it again, but it's never struck me as much as other people.

[Watashi]

Because he makes good scores for Steven Spielberg, one of the most respected and well known filmmakers in the world, and makes the kind of florid orchestral music that is easily acknowledged as appropriate classical music for the Academy Awards?

Uh... what the fuck? Are you serious? You actually think when Williams scores a movie, he thinks "hey, they might use this music during an Academy Award montage down the road"? Who cares what type of music the Academy chooses. Some of his best scores were never collaborations with Spielberg (Star Wars, Superman, JFK, Harry Potter, etc).

[Barty]

Because he makes good scores for Steven Spielberg, one of the most respected and well known filmmakers in the world, and makes the kind of florid orchestral music that is easily acknowledged as appropriate classical music for the Academy Awards?

Oh no you didn't.

I don't know how you can reduce John Williams to a level like this. The man has written is numerous styles, from Jazz to Neo-Classical, heck, he's even done Herrmann. The reason he gets noticed is because his music is damn brilliant. Thematically, orchestrally, and above all he knows what a movie needs and where it needs it.

[Raiders]

:lol:

You two are too easy.

[Barty]

Don't mess with the Williams. I will pwn you.

[Russ]

Barty, are you familiar with Dominic Frontiere's score for The Stunt Man? It didn't make the final ballot, but it would be definitely be in my top ten or twenty...

[Sven]

Barty, are you familiar with Dominic Frontiere's score for The Stunt Man? It didn't make the final ballot, but it would be definitely be in my top ten or twenty...

Have I already repped you for pimping The Stunt Man?

[Russ]

Have I already repped you for pimping The Stunt Man?
Yes. :cool:

[Sycophant]

The presentation on this list really did rock. For a brief, shining, and stupid moment, I was considering preparing a video for each of my top 100. Then I realized... well, you know what I realized.

[Sven]

Yes. :cool:

More will not hurt.

[D_Davis]

I didn't vote, so I guess I can't complain.

Good work Barty, the presentation is top notch!

The lack of Badalamenti is bewildering to say the least. Badalamenti's scores and compositions are just as much a part of Lynch's films as any of the visuals . These two, when working together, have created some of the most iconic film music I've ever heard. Just hearing those opening notes of the Twin Peaks theme brings images and memories of the film and series crashing into my mind.

Has anyone here heard his work from The Straight Story?

Two Clint Mansell scores over anything Badalamenti has done? This is a huge oversight.

Maybe Badalamenti's music speaks more to other musicians? I don't know, but I thought his work was more highly regarded around here.

And beyond nostalgic value, I am not the biggest fan of Williams' scores. I guess I just like my film music to be a little more daring and inventive. He's great at what he does, but I can't listen to his music divorced from the films like I can with most of my favorite scores/soundtracks.

So props to Barty, boo-urns to the voters! ;)

[Sven]

Has anyone here heard his work from The Straight Story?

It is sublime.

[D_Davis]

It is sublime.

Damn right it is.

[Qrazy]

Yeah, the score for Princess Mononoke and Spirited Away are pretty freakin' fantastic.

Also, although perhaps it doesn't deserve to be on a top list I'd just like to give a shout out to David Julyan's scores for most of Nolan's work. He has a very moody, atmospheric, almost dark ambient quality to his work. I think his scores for Memento, Insomnia, and The Prestige are all terrific.

[Spinal]

I would have voted for the Twin Peaks music, but the stuff I like is really from the TV show originally and not the movie. So I didn't think it made sense to vote for it.

[chrisnu]

Has anyone here heard his work from The Straight Story?)
Repped.


It is sublime.
Repped.

Something Badalamenti should've made it.

I also take this opportunity to voice my opinion that Howard Shore composed a better score for Crash than any of the Lord of the Rings films.

Ravenous also deserves to be here.

[Spinal]

I personally find it hard to remember film scores, so the stuff that sticks out to me is probably the more aggressive stuff. I love the way Badalamenti flavors a film, but I find it hard to remember his stuff later because his touch is so light. That's probably a compliment.

[D_Davis]

I personally find it hard to remember film scores, so the stuff that sticks out to me is probably the more aggressive stuff. I love the way Badalamenti flavors a film, but I find it hard to remember his stuff later because his touch is so light. That's probably a compliment.

For me, it is impossible to imagine a Lynch film without Badalamenti (except for the ones Badalamenti did not work on, of course). His work on Mulholland Dr., The Straight Story, Fire Walk With Me (probably my favorite film soundtrack and score from these two), and Blue Velvet is masterful. His audio perfectly compliments the visual experience in a way that few film scores do. And here is what I mean: his work does not falsely manipulate the emotions, but, instead, his music strengthens the emotions, it draws them out.

He paints images with his compositions that become a crucial part of the film beyond their melodic impact. Sure, they may not be as hum-able as a Williams' score, but this is a strength in film composition. His music is largely transparent in that it shapes the landscape and atmosphere of the film. His scores are temper the film's climate, and they shape and help to form the over all structure. He is one of the most atmospheric film composers I can think of, and second only to Morricone in my book.

As a musician and recording artist, film music is incredibly important to me, and it is one of the first things I think about when watching a film. This is probably my most major complaint about most of the Hong Kong cinema I watch - the music on many of these films is actually pretty terrible.

[D_Davis]

Ravenous also deserves to be here.

Major rep. One of the most creative scores in recent memory.

[Russ]

He is one of the most atmospheric film composers I can think of, and second only to Morricone in my book.
I'm sure you're familiar with Brian Eno's Apollo album (who hasn't heard An Ending (Ascent), right?), but have you heard it in its original context, on Al Reinert's Apollo space flight documentary, For All Mankind? It's a beautiful score, to be sure, and one which I like to think, if more people had seen the Criterion DVD, would have probably made the final cut.

[D_Davis]

I'm sure you're familiar with Brian Eno's Apollo album (who hasn't heard An Ending (Ascent), right?), but have you heard it in its original context, on Al Reinert's Apollo space flight documentary, For All Mankind? It's a beautiful score, to be sure, and one which I like to think, if more people had seen the Criterion DVD, would have probably made the final cut.

I have not seen this film, but I've been listening to Apollo, Music for Airports, and On Land, almost non-stop the past week. It amazes me that Eno doesn't work on more films. It would almost be unfair to other composers because his stuff is so amazing. :)

Just imagine if Eno, Lanois, Budd, and The Edge were to start composing film music together. Holy crap, they would be unstoppable.

[ledfloyd]

too much john williams, and john williams influenced (glory, lord of the rings, etc).

...says the guy that nominated quite a few williams scores.

i like offbeat scores. so i'm glad to see yann tiersen, anton karas (my favorite score ever), jon brion, neil young and miles davis represented. fargo is one of my all time favs. hermann rules. i think morricone is slightly underrepresented. i love rota's godfather score. clint mansell deserves the rep as he's done some of the best orchestral scores in recent memory. the only one i had a problem with is schindler's list which i don't think is a particularly memorable score, especially to be placed so high.

[Ezee E]

I dig the top five. Well-placed.

[Biff Justice]

Just wanted to chime in with another "great job!", Barty. I'd planned on checking the message boards quickly before I got some shuteye, and you made me stay up past my bedtime. :P

As for the scores themselves? Loved The Pink Panther selection, I'll agree that if anything it should have been higher, but the Neil Young??? I like Neil Young, and that was just a snippet of a soundtrack I've never heard, but that snippet sounded like braying cattle or something. Nothing wrong with experimentation, but... Still, I can't really say anything about the soundtrack in general since that's all I've heard of it.

I personally would have put Oz, Vertigo, and Raiders higher, and Requiem lower, but overall a solid list and incredible presentation.

[Qrazy]

I'm sure you're familiar with Brian Eno's Apollo album (who hasn't heard An Ending (Ascent), right?), but have you heard it in its original context, on Al Reinert's Apollo space flight documentary, For All Mankind? It's a beautiful score, to be sure, and one which I like to think, if more people had seen the Criterion DVD, would have probably made the final cut.

Maybe not the final cut, but it is amazing.

[Ivan Drago]

I'm downloading the Koyaanisqatsi score right now. It's so amazing I just had to.

[amberlita]

Wow, Barty!! I'd totally missed this. It really had me giddy when I realized what you'd done. Fantastic show!

1. The Good, The Bad and the Ugly – Ennio Morricone
6. The Third Man - Anton Karas
7. The Empire Strikes Back -- John Williams
18. The Godfather – Nino Rota
20. Amelie - Yann Tiersen
21. Fargo - Carter Burwell
23. Glory - James Horner
30. Hook - John Williams

:pritch:

I'd forgotten just how impressive The Fountain score is. Glad it was included even if it only served as a reminder for me to download it.

Oh, and you picked the exact sequence for Empire Strikes Back that makes me enjoy it over the others. :)

Sad lack of Basil on this list though. :(

[DavidSeven]

John Williams makes cheesy music.

[Barty]

John Williams makes cheesy music.

No he doesn't.

[D_Davis]

John Williams makes cheesy music.


No he doesn't.

Now this is a heated debate.

[Watashi]

John Williams makes cheesy music.
You make cheesy posts.

Zing?

[jesse]

A friend of mine on the other message board I frequent just posted a list of his 100 favorite film scores. So for shits and giggles:

Alexander Nevsky Sergei Prokofiev
Bad And The Beautiful David Raksin
Best Years Of Our Lives Hugo Friedhofer
Big Country Jerome Moross
Birth Alexandre Desplat
Black Narcissus Brian Easdale
Body Heat John Barry
Boy On A Dolphin Hugo Friedhofer
Bram Stoker's Dracula Wojciech Kilar
Butterfly Ennio Morricone

Chinatown Jerry Goldsmith
Clock George Bassman
Close Encounters Of The Third Kind John Williams
Country Charles Gross
Dead Again Patrick Doyle
Diane Miklos Rozsa
Diary Of Anne Frank Alfred Newman
Dolce Vita Nino Rota
Double Indemnity Miklos Rozsa
E.T. The Extraterrestrial John Williams

El Cid Miklos Rozsa
Experiment In Terror Henry Mancini
Fall Of The Roman Empire Dimitri Tiomkin
Far From Heaven Elmer Bernstein
Far From The Madding Crowd Richard Rodney Bennett
Farewell My Lovely David Shire
55 Days At Peking Dimitri Tiomkin
Four Horsemen Of The Apocalypse Andre Previn
Fury John Williams
Garden Of Evil Bernard Herrmann

Ghost And Mrs. Muir Bernard Herrmann
Gloria Bill Conti
Golden Bowl Richard Robbins
Good, The Bad And The Ugly Ennio Morricone
Harlow Neal Hefti
Hatful Of Rain Bernard Herrmann
Hemingway's Adventures Of A Young Man Franz Waxman
High And The Mighty Dimitri Tiomkin
Home From The Hill Bronislau Kaper
Hotel Johnny Keating

Hours Philip Glass
How Green Was My Valley Alfred Newman
How The West Was Won Alfred Newman
Interview With The Vampire Elliott Goldenthaal
Johnny Guitar Victor Young
Journey To The Center Of The Earth Bernard Herrmann
Jules And Jim Georges Delerue
Kings Row Erich Wolfgang Korngold
Letter Max Steiner
Long Hot Summer Alex North

Lost Horizon Dimitri Tiomkin
Lust For Life Miklos Rozsa
Madame Bovary Miklos Rozsa
Man And A Woman Francis Lai
Marnie Bernard Herrmann
Mary, Queen Of Scots John Barry
Mephisto Waltz Jerry Goldsmith
Mishima Philip Glass
Moonraker John Barry
National Velvet Herbert Stothart

Never So Few Hugo Friedhofer
Not With My Wife You Don't John Williams
Now Voyager Max Steiner
Nun's Story Franz Waxman
Obsession Bernard Herrmann
On Dangerous Ground Bernard Herrmann
On Her Majesty's Secret Service John Barry
On The Waterfront Leonard Bernstein
Peyton Place Franz Waxman
Picnic George Duning

Pride And The Passion George Anthiel
Private Life Of Sherlock Holmes Miklos Rozsa
Providence Miklos Rozsa
Rainmaker Alex North
Raintree County John Green
Red Pony Aaron Copland
Ride With The Devil Mychael Danna
Robe Alfred Newman
Sandpiper Johnny Mandel
Sea Hawk Erich Wolfgang Korngold

Shoot The Piano Player Georges Delerue
Sodom And Gomorrah Miklos Rozsa
Spartacus Alex North
Splendor In The Grass David Amram
Streetcar Named Desire Alex North
Stripper Jerry Goldsmith
Summer And Smoke Elmer Bernstein
Superman John Williams
Taxi Driver Bernard Herrmann
Three Musketeers Michel Legrand

To Kill A Mockingbird Elmer Bernstein
Toys In The Attic George Duning
United 93 John Powell
Vertigo Bernard Herrmann
Wait Until Dark Henry Mancini
Wild Bunch Jerry Fielding
Wild Rovers Jerry Goldsmith
Wind And The Lion Jerry Goldsmith
Witches Of Eastwick John Williams
Written On The Wind Frank Skinner & Victor Young

[balmakboor]

Sorry, he's wrong I'm afraid. I don't see Paris, Texas anywhere.

[Spinal]

Also, no Michael Nyman.

[jesse]

Sorry, he's wrong I'm afraid. I don't see Paris, Texas anywhere. Hence the word "favorite."

[balmakboor]

Hence the word "favorite."

You do know I was joking of course.

[Spinal]

I wasn't joking.




Seriously, I wasn't. :evil:





:)





But I mean, COME ON! Michael Nyman!