Everything Thomas Newman does is nothing short of ingenious. Perhaps most recognisable for his piece Any Other Name which was the feature score for American Beauty, he has a long list of films under his belt that put him in good stead for being the best composer on the planet (I'm somewhat of a fan). In 1995, Newman was the only person at the Oscars to receive a double-nominee, for his work on both Little Women and one of the best films ever, The Shawshank Redemption. He has received ten Oscar nominations; including the three mentioned projects as well as Finding Nemo and Road to Perdition. This American composer's work has become easily recognisable as "that's the song from..." He is able to pull on emotional strings and create a sense not just that you're watching the film, but that you are apart of the subject's life.
Theme: The Shawshank Redemption
Any Other Name: American Beauty
My hope? One day Thomas Newman and a full orchestra will follow me around creating a unique and original sound for every aspect of my life. Soundtrack for my life, sick.
Another favourite composer amongst many is Danny Elfman. Long-time friend and collaborator with Tim Burton, Elfman's list of projects is far greater than perhaps any other score writer that I can think of immediately. His work for Burton includes: Big Fish, Batman, Batman Returns, Alice in Wonderland, Edward Scissorhands, Charlie and the Chocolate Factory, The Nightmare Before Christmas, The Corpse Bride to name but a few. Burton's playful theatrics are a well-suited match for Elfman's melodramatic sound which creates a journey for the viewer and the listener alike.
As well as his playful side, Elfman also created a name for himself amongst more serious title films after various projects with amazing film director Gus Van Sant. In fact, Elfman was responsible for the score of Good Will Hunting (might I add, the perfect blend: Elfman, Van Sant, Damon and Affleck) as well as To Die For and Milk. Keep a watch out for a new film of Van Sant's titled Restless due out sometime this year, which also features Elfman's musical finesse.
But all of this chat of Elfman aside, and my showing off my obvious fountain of knowledge (HA HA), Elfman also has one project that perhaps put him on the map more than any other. I'm sure you're familiar with the following:
Anyway, onwards we go.
Perhaps one of my favourite collaborations, albeit a little dark, was when Sofia Coppola got French duo Air together - and they created the score for The Virgin Suicides. Undeniably powerful collaboration, coupled with a haunting tale, originally written by Jeffrey Eugenides. The combination of Coppola's direction, Air's composing and Eugenides knack for writing bizarre stories, the result is a haunting yet slow-paced original piece. Air released an entire album of pieces they had composed for the film; and the result is a strange combination of sounds, but it works. It's primary piece is Playground Love, although Highschool Lover is well-crafted piece. The album is concept; and should be listened to in its entirety to be able to enjoy it the most, otherwise it mind just be random noise.
Highschool Lover:
Explosions in the Sky: Friday Night Lights (TV series, not shit movie) (refer to previous post!)
Gary Jules covers Tears for Fears for Donnie Darko: the result? Mad World. Wow.
Mike Oldfield's Tubular Bells was not written specifically for The Exorcist, but it suits the film amazingly. Although the original version is about 25 minutes.
Fun fact for the day? Mike Oldfield's Tubular Bells was the first record ever released by Virgin Records, which was Richard Branson's first ever Virgin related business venture. Do you even care?
The film Candy is another example for well composed score throughout the film that is able to trigger emotions that perhaps may not have occurred if not for the music. Paul Charlier was behind this project, and as far as I can research, this is the only feature film that he has composed the entire score for. An album was also released jam-packed full of his original pieces, as well as featuring the likes of Tim Buckley, and the amazing Rodriguez. Charlier did a great job on the film, which remains a love story like no other. Originally written as a semi-autobiographical novel by Luke Davies, the film follows to heroin addicts, so helplessly in love with both each other, and heroin. "Since there is only one thing to love, and it cannot be you."
Paul Charlier: We Can't Really Do This
Decoder Ring blows me away. The first album that they released, before any other studio album, was the score and accompanying pieces for Australian independent film Somersault. The film was one of Sam Worthington's "breakthrough" roles, and his co-star Abbey Cornish played a sixteen year old, confused and lost. She runs away from home, to a pretty depressing looking cold Victorian country town, and tries to rebuild a new life for herself. Perhaps an Australian version of a "coming of age" film, the music that Decoder Ring was able to come up with was unbelievable, and suited the nature of the film amazingly well. Decoder Ring has progressed in huge steps since this was released, with a successful album Fractions as well as their most recent They Blind the Stars and the Wild Team.
This movie is beautiful.
Decoder Ring: More Than Scarlett
Decoder Ring: Somersault
Last but NO WAY LEAST. Although it's not a score, and as previously mentioned, Danny Elfman actually wrote the score for Good Will Hunting, the best original song ever ever ever written for a film was Elliott Smith's Angeles.
Celine Dion beat him at the Oscars for My Heart Will Go On.
Disgusting.
Anything Elliott Smith does is the best thing in the world. God damn his untimely death.
Big love,
Liv
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