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Cinema is the ultimate visual medium,
a thousand pictures a minute, each worth a thousand words. But behind them is some music that’s
doing almost as much talking. Easily our most requested movie list yet,
these are our picks for the top ten best original
scores of all time. (Music) So first question we ask ourselves
when we set out listening was, how does music contribute
to the telling of a story? And the first way we found
was in the mood-setting. Music is an incredibly effectively
way of not just communicating, but conveying emotion. It can be dread, as in The Omen. Or The Lion in Winter. Or sorrow, as in Crouching Tiger,
Hidden Dragon. Or Schindler’s List. (Music) Love, as in Titanic. (Music) Bliss, as in the Mission. And both hope and hopelessness,
as in Swiss Army Man (Music) But our favorite mood building score
goes to the power of jazz on film, which could be from
A Streetcar Named Desire or Taxi Driver. (Music) But for us, has gotta be the bleak,
brooding, disconnected music composed for Elevator to the Gallows by
the legendary Miles Davis. (Music) Elevator to the Gallows was an immensely
influential precursor to the French new wave, a trendsetter in instrumentation,
and a piece that was absolutely dripping with
a melancholy, lonely, alienated mood. And it was a jazz score in every sense of
the word, with all the preparation of two chords Davis liked sketched together in
a hotel room on a piano the night before, sitting down with four other session
musicians, watching the film live, and then improvising the entire score. It’s simple, unplanned, barely structured. But apparently, when you strip all that
away and you’re Miles, freaking Davis, all you’re left with is pure,
unadulterated mood. (Music) After setting a mood we think scores
also set a tone, and while that might sound like we’re just playing games
with the thesaurus, hear me out. Mood, in a score, purveys to us
the prevailing emotion of scene, how the characters in
that world are feeling, while the tone tells us how
we should feel about it. It’s a point of view,
a perspective on the action. Compare Miles Davis’s film noir score
to that of John Barry’s Goldfinger. Both of them use jazz instrumentation
to convey a sense of danger. But where Miles positions us
genuinely inside that danger, Barry’s score doesn’t
take it seriously at all. That’s tone. It’s the small intimacy of
the assassination of Jessie James. It’s the majesty and honor of Apollo 13. Or the sense of magic in The Natural. It’s the Pirates of the Caribbean
laughing in the face of danger. Or the Thin Red line, interpreting more
tragically rather than heroically. However, the score that takes the tone
we love the most has to be Nina Rota’s, in The Godfather. (Music) From its opening trumpet phrase,
Rota’s score takes such a position on the Corleones, crooning with an oppressive
weight of tradition and power, even on the day of his daughter’s wedding. You are practically forced to
take these people seriously. And even when the score’s mood turns
lighter, as in its romantic moments, there’s always a lingering
sense of gravity, because that’s what this score
is above all else, grave power. But almost as a curse, a weight that
hangs over the family business. And Rota infuses the sound of
this weight in every note. (Music) Sometimes scores can hit us less
in the heart and more in the head, conjuring up an idea through music. Atonement does this by incorporating
typewriter sounds as percussion, to suggest that even the score is written. And High Noon uses the ticking of
strings to suggest the approaching hour. Arrival uses incomprehensible voices as
instruments to underline the struggles with communication. Where Close Encounters of the Third Kind
plays with the idea of music as communication. However, if there was a man known for effectively expressing ideas in musical
form, it’s gotta be Hans Zimmer. Whether he’s ticking away
the days in Interstellar. Or stretching a tune to
dream time in Inception. Or, for our favorite, basically writing a dissertation on
time in musical form for Dunkirk. (Music) Zimmer’s score is so effective because it perfectly
captures the experience of gradual, unending suffocation, while still managing
to organize around a few very heady ideas. The pocket watch-like tickiness really
does incept the idea of time running out into our minds. And his use of an auditory illusion
called the Shepard scale to create a disorienting sense of endlessly
rising notes that never seems to actually change really does
suggest an ever tightening trap. But when he takes this Shepard’s
scale in three different octaves and plays it in triplicate at three different
rates to symbolize the three different plot lines at three different time scales. And, do you know what? He lost us three threes back. It’s the kind of thing that might be
a little too clever for its own good. It isn’t clear to us whether anyone is
actually capable of grasping intellectual ideas in music of that complexity. But it’s okay, because it still manages
to be an awesome, intelligent, and effective piece of composition. (Music) Beyond heart and the head, one of the most
impactful places a score can hit us is right in the gut, going for
the limbic system, or the lizard brain, or whatever you want to call it, bypassing
our defenses and hijacking our reactions. You find this in the shrillest of
highs and in the lowest of lows, in the experimental score,
like in, Under the Skin. (Music) Or Planet of the Apes (Music) Or The Andromeda Strain. (Music) And it’s the driving force
behind the horror score. Every time you get your hackles up
from a dissonant stand of strings, this is the level that
music is working at. And when it is,
it probably owes a debt to Bernard Herman, whose music practically
hypnotizes you in Vertigo. It entrances you in Obsession. (Music) And in this slot, attacks you, in Psycho. (Sound)
This is what we all think of first when
we think of the music of Psycho. And it is certainly the most acute version
of Hermann’s incredible stabbing effect, the one where we almost feel the strings,
even if we take away the picture. (Music) But Hermann has started in on us with
his musical violence from the beginning, subtler, but only just. His use of strings as percussion and
constant subtle dissonance is so effective, because it makes us
the targets of all the terror, instead of just the characters on screen. Watch the shower sequence as Hitchcock has
originally planned it, without any music, and you can feel how much more
detached the viewing experience is.>>Aah!>>But layer back in Herman’s score, and
there’s an irresistible immediacy that comes from the innate visceral power
of music that he managed to tap into.>>Aah! (Music)>>Taking a breather from musical
brutality, the best scores can also evoke a sense of being somewhere in space,
in time, in all its specificity. It can elaborate a corner of a room on
screen onto an entire world outside of it. It can be the western frontier
as in the Magnificent Seven. Or The Big Country. (Music) It can be space, as the in Gravity. (Music) Or Sunshine. It can even be an imaginary world,
like Middle Earth. (Music) Or Metropolis. However, it is in the genre of the epic
that this effect really shines, in War and Peace (Music) Around the World in 80 Days and
Lawrence of Arabia. (Music) But even better, we think it’s
Miklos Rozsa’s score for Ben-Hur. (Music) Blaring brass, and soaring strings,
and crashing drums, and a massive orchestra come together with the
pop of armies in the scope of an empire to build a score that feels miles wide and
taller still. Rozsa spent over a year composing over
three hours of music for the film and then conducting a one
hundred piece symphony for 72 hours in 12 sessions to this result. It was the longest film score ever made
in its time, and it contained multitudes, music for men, and crowds,
and nations, and gods, and a sense of scale, and scope, and
dynamic range enough to suggest them all. All adding up to a score that would go
on to practically define the genre of the epic. (Music) One of the most exciting ways a score can
function is by turning up the heat or intensity of whatever’s already on screen, an effect that is probably at its best in
the action underscore, pounding drums and sizzling strings that act
as a musical multiplier. You can find what we think are some
of the best examples of this in films like Back to the Future, Raiders of
the lost ark, Mad max Fury Road, Suspiria, the Dark Knight,
and Conan the Barbarian. However, if there’s am film that still
stands the test of time as one of the greatest, even after revolutionizing
the drama in the first place, it’s Sergei Prokofiev’s Alexander Nevsky. (Music) This was Eisenstein’s propagandic
attempt to curry Stalin’s favor, and by doing so, ideally, avoid execution. Unfortunately for him, Russia signed a pact with
Germany shortly before its completion, which meant Alexander Nevsky, the film,
was shelved for political purposes. Prokofiev, however, quickly repurposed his
music into a contata that was performed often into great popularity. There was an immense sense of energy and
conflict within his composition that the music practically conjures
its own images of a battle. But a decade later, after a tiny little
Nazi invasion, let’s say, recolored Soviet’s sentiments towards the Germans,
the film was finally released, and picture and sound were finally shown together,
allowing the world to see the full effect of Prokofiev’s score in lending all its
immense force onto Eisenstein’s imagery. Full to the brim with swells,
crescendos, and turns, like a 1,000 men charging army of music. (Sound)
Music can do more than just intensify a conflict, it can almost become
the conduit of the conflict itself. When the drama seems to be playing
out through the music, above and beyond what’s happening on screen. Consider the breakfast
sequence on Citizen Kane. Yes, the performances and
camera tell a story, but that entire story is also
told through just the music. Red Shoes incredible ballet is
a drama that is driven by the music. But there’s probably no composer better
at music as drama than Ennio Morricone, especially in his work with Sergio Leone. In Once Upon a Time in America, (Music) And Once Upon a Time in the West. (Music) But come on, never any better than
in the Good, The Bad, And The Ugly. (Music) Without Morricone’s music, most of Sergio
Leone’s movies would be absurdly long shots of pretty landscapes and tough
looking cowboys walking really slowly and glancing at each other out
of the corner of their eyes. But with Morricone’s unforgettable,
eternally dramatic music, they are fraught with the threat of
violence that could erupt at any second. Filled with scheming, and drama,
and tension, and conflict, they are the perfect link. But Leone is no dummy. He isn’t being rescued from his
own doldrums by his composer here, but giving a virtuoso
the space to speak for him. From the adventurous,
to the romantic, to the utterly epic, here the music tells the tale. (Sound)
Then there are the times when music takes you beneath the drama,
where it focuses less on orchestrating the physical
action or carrying the obvious plot, but instead turns its attention to something
else that might otherwise go unseen. Where the music becomes
the narrator of the subtext and the voice of a character’s inner world. Neil Young’s score for Dead Man uses
a haunting solo guitar as a stand-in for the character, where The Social Network
is a pitch perfect evocation of childlike vulnerability
getting covered over by rage. Moonlight is a melancholy look
beneath an often tough exterior, (Music) Where Goldsmith’s Patton employs
three different melodies for the different facets of the But if there’s
a composer we think can orchestrate an interior unlike any other,
it’s gotta be Johny Greenwood, who scores for
Phantom Thread and The Master. Expose delicious, hidden underbellies
to their characters, but no more and never better than in his
work on There Will Be Blood. (Music) Paul Thomas Anderson has an extensive
history of working with brilliant avant-garde composers to reveal
a deeper layer to his films, including earlier work from
Micheal Penn And Jon Brion. But none of it has reached
quite the level of beauty, innovation, and
sophistication as his work with Greenwood, who you may be more familiar with
as the lead guitarist of Radiohead. There Will Be Blood was only his second
score ever, but it cracked open the skull of classical film composition with
a bowling pen, upending the traditional sound entirely and allowing something new,
and subtle, and intimate to leak out. The dos-ease of the score,
its subtle tone of melancholy, and grief, and tumult understands an element
of Daniel Plainview’s character that we’d all likely miss without it,
far more than the rest of the film and even Daniel himself would ever admit. (Music) Closing in at number two, there’s one
incredibly important thing we haven’t even talked about yet,
the ability to write an incredible theme. Of course, by theme we really mean
leitmotif, a recurring musical phrase or melody that is introduced at the same
time as an important person, place, thing, or idea. That can be replayed every time the
composer wants to evoke that associated element. Maybe with a variation to suggest
a change, faster, or slower, or in a different key or
with a different instrument. As for some of the best,
how about this one from Braveheart? (Music) Or this one from Godzilla? (Music) How about the original Batman theme? (Music) You probably recognized all
of these almost immediately. However, when someone says theme, there’s no one we think of faster
than John freaking Williams. He’s written absolute stunners for
Jurassic Park, for Jaws, for Harry Potter, (Music) Or for Superman. (Music) But come on,
you’re already humming the damn tune. This one goes for Star Wars,
The Empire Strikes Back. (Music) George Lucas’ desire to focus on
the familiar emotional elements in his sci-fi opera rather than
the otherworldly caused him to seek out a score that hearkened back to
early 20th century romanticism. Buoyant with adventure and saturated with With cultural
associations to modern legend. The result was Williams’s
return to Strauss and Wagner, the operatic forebearers
of the late motif concept. And while A New Hope certainly
changed everything and debuted the main theme
which we all know best. Empire added onto it further still, striking the perfect balance
between density and development. It brought back Luke’s Theme. (Music) The Rebel Fanfare (Music) The Force Theme. (Music) And Leia’s Theme. (Music) While debuting Darth Vader’s
Imperial March Theme, Yoda’s Theme, (Music) The Han-Princess Theme. (Music) And on, and on, and on, and they’re all about as good of an example
of the power of theme as you can get. Because if you’re anything like us, each snippet of melody immediately brings
something very specific to your mind. And an entire suite of associated feelings
about that theme, because John Williams, a musical ninja, has hijacked our memory. When we first set out to come up with this
list, a friend asked us if there was any composer out there who
was a peer to Williams? And our response was, honestly,
we couldn’t think of any. Some of his contemporaries, like
Goldsmith and Horner came first to mind, they’re absolute geniuses in
their own different ways. But as far as the majestic sweep
of the huge romantic theme, we weren’t sure anyone could compete. And after all our research we still think
he is ultimately peerless at what he does. But you’ll notice he took up our
number two slot and we still have yet to crown a number one. And that’s because we found two other
composers who aren’t really his peers. Because while they’ve composed scores and
themes just as well as him, by about half a century,
they did it first. One is Max Steiner, probably the most
prolific composer who ever was. Author of such world class
compositions as those for King Kong and Gone with the Wind. (Music) And Casablanca.
(Music) And about 300 others. And the second, is Erich Wolfgang
Korngold, who compared to Steiner and his 100s, scored only 19 films. But each one is literally one of the best
pieces of film music we’ve ever heard. The Private Lives of Elizabeth and Essex. (Music) Captain Blood.
(Music) The Prince and the Pauper. (Music) God, the Adventures of Robin Hood. (Music) To prove a point,
does this theme that Korngold composed for Kings Row in 1942 sound
at all familiar to you? (Music) None of this is to take away at
all from William’s brilliance. The man is clearly a genius
at what he does, but he is a genius atop the genius Korngold,
it’s hard for us to pick a favorite. But gun to our heads, the one that makes
us want to jump out of our chairs and take to adventure fastest,
is probably his score for The Sea Hawk. (Music) A child prodigy,
Austrian exile of the Nazis, and musical descendent of Wagner and Strauss. Korngold was a clear forebearer to John
Williams from whom he’s clearly inherited so much. In a decade where stock music was almost
just as common as original composition. Korngold’s work was really and truly
the high water mark for film scoring. He laid them out like opera librettos. Even referred to them as operas
without singing, filled with themes, each more magnificent than the last. And The Sea Hawk’s score builds its moods,
takes a clear tone, suggests ideas about
swashbuckling in the seas. Plays with our hearts and minds and guts,
evokes a romantic setting like no other. Intensifies the action,
underlines drama and even contributes to the subtext of one of Errol Flynn’s
most complicated characters yet. All while wrapping this in some
of the most entertaining and memorable music we’ve ever heard made for
movies. Which is why we think it’s one of the best
original film scores of all time.>>So there you have it, check out all
the music from this episode in the Spotify playlist linked in the video description. Let us know what you think in the comments
below it and be sure to subscribe for more Cinefix Movie Lists.

100 thoughts on “Top 10 Film Scores of All Time

  1. Blade Runner is the greatest film score bar none. When I watched Blade Runner first time in original release right from hearing that first ominous deep base boom tone that brings in the open credits and the haunting lonely electronic melody that follows layered over top. I melted in my seat. And saw the name Vangelis. A rocky history to that beautiful film and he never fully released the the true soundtrack. Very intense soundscape soundtrack.The peak of music making the film.

  2. This channel is so hipster. #1 is not the best. Just flexing your knowledge of movies. "Oh yes I absolutely love the score from The Sea Hawk. My favorite." Lol Just put Star Wars at #1 ffs

  3. The best composer of themes is not John Williams (who is great at them, but pretty much reworked themes of composers like Ravel, Wagner, and Prokofiev, among many others), it was John Barry. If anyone doubts that, recall or go listen to the following brilliant, unique, astoundingly diverse (exceeding John Williams to a vast degree), stunningly emotional themes:
    From Russia With Love
    You Only Live Twice
    The Ipcress File
    Born Free
    Midnight Cowboy
    Somewhere In Time (many great themes)
    Body Heat
    High Road to China
    Out of Africa (many great themes)
    Peggy Sue Got Married
    Dances With Wolves (many great themes)
    The English Patient
    Indecent Proposal
    Cry the Beloved Country

  4. I don't normally say this, but the music in The Godfather is a tour de force. Still one of the greatest movies ever made, in my opinion at least.

  5. Sergio Leone was a fricken genius. His use of music, camera angles, etc. were astonishing to watch and hear.

  6. the music from "There Will Be Blood" and "Dunkirk" was so bad and in your face, it almost completely ruined these movies, you haven't even mentioned the brilliant music from "Alien", "The Great Escape", duelling banjos from "Deliverance" or the amazing climax air battle music in "The Battle of Britain"

  7. I was wondering how star wars main theme would be introduced in this top (because I had no doubt it would be in it.)

  8. My problem with CineFix is that they always introduce the best, then introduce something/one edgy and go with that. Zimmer's Interstellar is his best. And several of the spots you had better soundtracks than you actually picked – #5. Steiner is #1 followed closely by Williams – CineFix picked most of these just to be edgy or contrary – Korngold? Great! Williams and Steiner? Much better.
    But I am glad for Morricone and the mention of soundtracks such as Gravity.

  9. Kept expecting Dr. Zhivago to make an appearance, but…..

    Don't recall seeing Lawrence of Arabia here, either.

  10. danny elfman and his tim burton scores like batman or batman returns are great too, I also love Hans Zimmer's interstellar soundtrack, one of the very best!

  11. I'd like to nominate and suggest everyone take a listen to the music for the movie Ladyhawk from 1985. It stares Matthew Broderick, Rutger Hauer & Michelle Pfieffer. It is outstanding! It was scored by Andrew Powell, of the Allen Parsons Project. The criticism at the time of the movies premier was that the music, tho exceptional, sounded to "modern" for the medieval timed movie. That was probably the best part of his phenomenal score. While the soundtracks of other 80's movies is now dated, not the music from Ladyhawk. Give it a listen, you're in for a real treat!

  12. Watch Disney’s Pocahontas its Score was actually the most breathtaking in Cinema especially the farewell scene.

  13. This is not a list but a lesson on film scores. So I truly appreciate that. But since you build a list, I disagree with the score of The Empire Strikes Back at #1. It is better that The Sea Hawk's. And, on the other hand, I am highly disappointed not to see the score for LORT not even mentioned anywhere.

  14. Cinefix has done well in this list. Truly for the movie's buff and well thought out. I know a lot of people get pissed with their top 10 list placements, this is because everyone is so used to crappy lists based on fan likes and popularity. This list is build around the geniality and innovation of motion pictures sound track across a span of 80 years of cinema. It includes not only one single track of a particular movie but how a movie sound track stands out telling a story in each scene with a different soundtrack that to date is still recognized. I totally agree with Star Wars. I am not a Star Wars fan yet I recognize each of the score and I thought that score made the movie more than the plot itself.

  15. The greatest film scores are Shostakovich's score for Hamlet (1964) and Prokofiev's score (Nevsky Cantata). Those are great classical compositions of the highest level.

  16. ABSOLUTELY AGREE WITH NO. 1: The Sea Hawk is tops not only the sound track but the entire movie!!!!

  17. Wow, there’s some good choices here but also some real pretentious bullshit. If the Sea Hawk was truly number one then most of us would have heard of it and be familiar with it. As it is I doubt even 5% of the general population has heard of the movie let alone the score. So you can make some weak arguments about it not being appreciated or something but the fact is it’s really not number one. I could make a whole other top 10 list of amazing movie scores that everyone knows that are better than it.

  18. The absolute best cinematic musical score that isn't in this list has to be Howard Shores' The Lord of the Rings films, my second favorite (again, not on this list) is James Horners' soundtrack to Braveheart.

  19. I LOVE YOUR NUMBER ONE PICK. And yes, I'm shouting on purpose. I thought everyone had forgotten about Korngold. I discovered him in a college library record collection 40 years ago. Being an Errol Flynn fan I recognized many of the films listed. When I listened to his score, I suddenly realized why I loved those films so much.

  20. Kudoes for trying to recognize as much as you could in the limitations of 20 minutes, hundreds of movies, and touching a major genre: film music. A takeaway message is the importance of the heritage of film music from Williams, Goldsmith, Newman, Barry back to Hermann, Steiner, Korongold back to Strauss, Wagner, Tchaikovsky. Personal faves not mentioned Alexander Desplate and Phillip Glass. So many wonderful new composers. And God Bless John Horner!

  21. The Good, The Bad and the Ugly hands down with The Carriage of Spirits, The Death of a Soldier, The Story of a Soldier, Ecstasy of Gold and a couple of others including the main theme.

  22. Sorry. But when you list best musical score of all-time, I feel #1 has to be from "Jaws." So familiar. So iconic. When you hear, "duh, duh, duh, duh, duh, duh…" You feel dread. It's just become the theme for fear. And there are several other places in the film where the music just adds so much to what's happening on-screen. The Orca's first encounter with the shark comes to mind.

  23. YES! Erich Wolfgang Korngold #1. He was the first FIlm Composer that stood out to me as a kid (along with Carl Stalling of course) as I loved watching all of those old Errol Flynn movies. And I remember the first time I saw Star Wars in the theater I thought to my self "hey, did John Williams just rip-off Korngold?" (as it turns out, George Lucas used Korngold's score for "Kings Row" as a temp track and asked Williams to follow it closely.) In any case, it was Korngold who started my Journey as a film composer myself. Excellent video all around though!

  24. I'll be honest – I was a little miffed that Shawshank Redemption didn't even get a mention. But overall, amazing work.

  25. Thank you so much for the enlightening overview of great scores… and thank you for the little mention of Tron: Legacy. Although I had heard 100’s of scores before it, T:L initiated me into an appreciation of the work of scores. It provided a foundation for sensing how music drove not only narrative but characterization, empathy, and world-building. I will go look at the Spotify playlist, which aptly enough, is where I heard the music of T:L first… based on one cinematic mistake that still saddens me, having never seen/heard T:L in a theater!

  26. Psycho score is great but I feel that Bernard Hermann best score is Vertigo.

    And Ennio Morricone should be number 1.

  27. Did I miss Hans Zimmer? His score for the De niro / Snipes movie "The Fan" was incredible! Truly made that film.

  28. I’m a year late, almost to the day, and it may be more of a soundtrack than a score? I dunno … but
    Peter Gabriel’s treatment of The Last Temptation Of Christ, though I didn’t see the film, is something that I could easily listen to twice a week for … ever. If anyone hasn’t heard it, I suggest a listen.

  29. After 2831 comments, I would have to point out, if someone else didn't mention it, Gustav Holst The planets was "borrowed" for Star Wars. If you ever have heard his work you would have to wonder why Mr. Williams got so much credit for his work.

  30. I'd put off looking at this ever since it appeared, feeling sure you'd pick a slew of populist junk (and the answers to this video prove a lot of viewers want such shyte). Instead, as usual, you approach this subject with the true depth of appreciation and cinematic knowledge we've come to expect from these videos. While I have quibbles with some of your picks, they're minor and to each his own. I did miss Philip Glass but he's not really a film composer by trade, and other names like Michael Nyman, Elmer Bernstein, Alex North, Michel Legrand, Roy Webb, Georges Delerue, and etc., would have made this an hour long or more! I feel your list is wisely proportioned, inclusive, and keenly insightful. Thanks a million for keeping up the great work!

  31. Main title – Spider-Man 2 by Danny Elfman from the 2004 film Spider-Man 2 directed by Sam Raimi and starring Tobey Maguire, Kirsten Dunst and James Franco

  32. Dude you totally ruin the effect of the music by over analysing it. It's like trying to explain the beauty of a flower using data and measurements.

  33. I have a problem with any top 10 list that does not have Howard Shore's "The Lord of the Rings" at least score at least somewhere in there. Yes, it is my personal favorite of all time, but I recognize the variance we are trying to cover. Even so, the sheer variety of themes that are consistently used throughout the trilogy is every bit as integral to the films' success as is the visual

  34. A decade later? Nazi Germany invaded the Sov Union less than 2 yrs after the countries' non aggression pact. Did they wait another eight years before releasing the movie?

  35. You put Hack Zimmer, a non-musician and a fraud on this list, but not Jerry Goldsmith. You praise Miles Davis for "improvising" his jazz score, while completely overlooking Jerry Goldsmith's "Chinatown" and "LA Confidential", which are well-thought out and structured. Music must have structure, otherwise, it's just masturbation, where the alleged composer is literally fingering the instrument. Who runs this channel?

  36. This is always going to one of the hardest lists to make. It's so subjective, and there are so many worthy choices. Overall, this is a great video, and most of your picks are right on. I can't agree with all of them. A couple of them are noteworthy because of a gimmick (whether it's all improvised by Miles Davis or whether it's Zimmer playing around with a scale that's no revelation to any classically trained musician) but in my opinion, don't belong on a top 10 of all time list. I also wouldn't put Greenwood's There Will Be Blood on a top 10 list. Or a top 100 list for that matter. There's a major divide between cinephiles and film-score fans when it comes to popular musicians scoring films. Film fans all seem to love it whenever the lead men from Radiohead or NIN score a film, but I just don't get the praise. I would have swapped any of those three of your picks I've just mentioned for any of the other wonderful scores you mentioned, or Bernstein's To Kill a Mockingbird. Your other picks were very good, however, and much better than a lot of the scores that cinephiles usually pick for lists about film scores.

  37. I'm kinda surprised you didn't mention Rota's use of leitmotifs in The Godfather, and how seamlessly he fuses them together.

  38. Dominic Frontiere – On Any Sunday (1971) No film soundtrack captured the scene or the era so succinctly.
    Joe Hisaishi – Nausicaä of the Valley of the Wind (1984). Musical power and beauty never matched by anyone… except by himself, in other Miyazaki films.

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