Who is the new Morricone?

[Dlanor]

I don't say Morriconne has finished his career. But according to you, if he had to pass the torch, which music film composer is worth to suceed to him (as a sort of spiritual son), as talented, as innovative as him, and made scores that are immediately remembered and have a soul?

I had thought to Clint Mansell. His music has something experimental as the one of Leone.

[dave jenkins]

The correct answer is Zbigniew Preisner, but without Kieslowski to score for anymore, his talent is pretty much wasted.

[titoli]

I have no idea about this as I'm not a film goer anymore. But if asked in Italy most would answer Nicola Piovani.

[bardo]

for me it has to be,THOMAS NEWMAN,great composer of films.
shawshank
finding nemo
green mile
american beauty
road to perdition
and many many more

[dave jenkins]

The question has to be considered with regard to the Morricone-Leone relationship. Film scores do not exist in isolation, after all. Cinema has produced some great  composer-director collaborations: Herrmann and Hitchcock, for example, but probably the greatest is Morricone-Leone. If there is to be a new Morricone, he must have a new Leone to work with.

[grandpa_chum]

as far as i'm concerned the only living film composer that compares to him is bill conti... and he's the only guy who reaches the shear volume of film offers as morricone, the guy has like 100 scores to his name, most popular for rocky... problem with successor is that he's already in his 60's

[Sanjuro]

As great director-composer teams, you should not forget Akira Kurosawa - Masaru Sato, Federico Fellini - Nino Rota, David Lean - Maurice Jarre. Michael Nyman composed wonderful piecers for Peter Greenaway but unfortunately their partnership did not last long.

Hans Zimmer is one of notable film composers in the US today, but he needs a director to be his influential partner. 

[Leone Admirer]

Agree with Newman and Preisner. Not so sure about Zimmer he seems to be replaced with guys like Trevor Rabin and Harry Gregson Williams, especially in the action film department. I personally think David Arnold is a bit over-raited especially with his last three Bond scores.

[cigar joe]

Lynch & Badalamenti

[Groggy]

What happened to my post on this thread?  Did someone delete it? 

[cigar joe]

didn't see it 

[Sanjuro]

Lynch & Badalamenti

They have a good partnership too.

[cigar joe]

yea, but Badalamenti has a long way to go

[grandpa_chum]

actually come to think of it... some promising film composers who already have a pretty good partnership with a decent director....

-jon brion with paul thomas anderson
-I was going to say basil poledouris and john milius, but milius is never given the shot to make more movies and poledouris actually just died last month
-danny elfman and tim burton isn't bad
-james newton howard and m night shyamalan

[Dlanor]

Clint Mansell forms a tandem with David Aranofsky, and it really marks.

I think both of the director and the composer must bring  real innovations. The composer needs not only to produce melodical tunes, but innovative ones. If you take GBU tune, it is remembred because it is both melodic and innovative.
A nice tune, but conventionnal, with a conventionnal orchestra, isn't enough. John Williams for example is too conventionnal I think. Danny Elfman too.

And there is the way the music is mixed with the image, if  you take Requiem for  a dream, the music isn't only used to produced emotions, but it is used as "a sound" for the action (like the screams in GBU) And the editing itself is musical(For example: the drug shooting sequence has an abstract editing wich is a sort of "refrain").

And sometime you don't know if the music is listened by the characters in the reality of the movie: during the party (In Requiem), or if it is the music of the film itself. A procedee Morricone often uses too.

And maybe the computers style of Mansell is the comtemporary counterpart of the innovative procedee Morricone used.