Top 60 Composers

As one of the best known, awarded, and financially successful composers in US history, John Williams is as easy to recall as John Philip Sousa, Aaron Copland or Leonard Bernstein, illustrating why he is "America's composer" time and again. With a massive list of awards that includes over 52 Oscar nominations (five wins), twenty-odd Gold and Platinum Records, and a slew of Emmy (two wins), Golden Globe (three wins), Grammy (25 wins), National Board of Review (including a Career Achievement Award), Saturn (six wins), American Film Institute (including a Lifetime Achievement Award) and BAFTA (seven wins) citations, along with honorary doctorate degrees numbering in the teens, Williams is undoubtedly one of the most respected composers for Cinema. He's led countless national and international orchestras, most notably as the nineteenth conductor of the Boston Pops Orchestra from 1980-1993, helming three Pops tours of the US and Japan during his tenure. He currently serves as the Pop's Conductor Laureate. Also to his credit is a parallel career as an author of serious, and some not-so-serious, concert works - performed by the likes of Mstislav Rostropovich, André Previn, Itzhak Perlman, Yo-Yo Ma, Gil Shaham, Leonard Slatkin, James Ingram, Dale Clevenger, and Joshua Bell. Of particular interests are his Essay for Strings, a jazzy Prelude & Fugue, the multimedia presentation American Journey (aka The Unfinished Journey (1999)), a Sinfonietta for Winds, a song cycle featuring poems by Rita Dove, concerti for flute, violin, clarinet, trumpet, tuba, cello, bassoon and horn, fanfares for the 1984, 1988 and 1996 Summer Olympics, the 2002 Winter Olympics, and a song co-written with Alan Bergman and Marilyn Bergman for the Special Olympics! But such a list probably warrants a more detailed background...

Born in Floral Park, New York on February 8, 1932, John Towner Williams discovered music almost immediately, due in no small measure to being the son of a percussionist for CBS Radio and the Raymond Scott Quintet. After moving to Los Angeles in 1948, the young pianist and leader of his own jazz band started experimenting with arranging tunes; at age 15, he determined he was going to become a concert pianist; at 19, he premiered his first original composition, a piano sonata.

He attended both UCLA and the Los Angeles City College, studying orchestration under MGM musical associate Robert Van Eps and being privately tutored by composer Mario Castelnuovo-Tedesco, until conducting for the first time during three years with the U.S. Air Force. His return to the states brought him to Julliard, where renowned piano pedagogue Madame Rosina Lhevinne helped Williams hone his performance skills. He played in jazz clubs to pay his way; still, she encouraged him to focus on composing. So it was back to L.A., with the future maestro ready to break into the Hollywood scene.

Williams found work with the Hollywood studios as a piano player, eventually accompanying such fare such as the TV series Peter Gunn (1958), South Pacific (1958), Some Like It Hot (1959), The Apartment (1960), and To Kill a Mockingbird (1962), as well as forming a surprising friendship with Bernard Herrmann. At age 24, "Johnny Williams" became a staff arranger at Columbia and then at 20th Century-Fox, orchestrating for Alfred Newman and Lionel Newman, Dimitri Tiomkin, Franz Waxman, and other Golden Age notables. In the field of popular music, he performed and arranged for the likes of Vic Damone, Doris Day, and Mahalia Jackson... all while courting actress/singer Barbara Ruick, who became his wife until her death in 1974. John & Barbara had three children; their daughter is now a doctor, and their two sons, Joseph Williams and Mark Towner Williams, are rock musicians.

The orchestrating gigs led to serious composing jobs for television, notably Alcoa Premiere (1961), Checkmate (1960), Gilligan's Island (1964), Lost in Space (1965), Land of the Giants (1968), and his Emmy-winning scores for Heidi (1968) and Jane Eyre (1970). Daddy-O (1958) and Because They're Young (1960) brought his original music to the big theatres, but he was soon typecast doing comedies. His efforts in the genre helped guarantee his work on William Wyler's How to Steal a Million (1966), however, a major picture that immediately led to larger projects. Of course, his arrangements continued to garner attention, and he won his first Oscar for adapting Fiddler on the Roof (1971).

During the '70s, he was King of Disaster Scores with The Poseidon Adventure (1972), Earthquake (1974) and The Towering Inferno (1974). His psychological score for Images (1972) remains one of the most innovative works in soundtrack history. But his Americana - particularly The Reivers (1969) - is what caught the ear of director Steven Spielberg, then preparing for his first feature, The Sugarland Express (1974). When Spielberg reunited with Williams on Jaws (1975), they established themselves as a blockbuster team, the composer gained his first Academy Award for Original Score, and Spielberg promptly recommended Williams to a friend, George Lucas. In 1977, John Williams re-popularized the epic cinema sound of Erich Wolfgang Korngold, Franz Waxman and other composers from the Hollywood Golden Age: Star Wars: Episode IV - A New Hope (1977) became the best selling score-only soundtrack of all time, and spawned countless musical imitators. For the next five years, though the music in Hollywood changed, John Williams wrote big, brassy scores for big, brassy films - The Fury (1978), Superman (1978), 1941 (1979), Raiders of the Lost Ark (1981) ... An experiment during this period, Heartbeeps (1981), flopped. There was a long-term change of pace, nonetheless, as Williams fell in love with an interior designer and married once more.

E.T. the Extra-Terrestrial (1982) brought about his third Oscar, and The River (1984), Empire of the Sun (1987), The Accidental Tourist (1988) and Born on the Fourth of July (1989) added variety to the 1980s, as he returned to television with work on Amazing Stories (1985) and themes for NBC, including NBC Nightly News with Tom Llamas (1970). The '80s also brought the only exceptions to the composer's collaboration with Steven Spielberg - others scored both Spielberg's segment of Twilight Zone: The Movie (1983) and The Color Purple (1985).

Intending to retire, the composer's output became sporadic during the 1990s, particularly after the exciting Jurassic Park (1993) and the masterful, Oscar-winning Schindler's List (1993). This lighter workload, coupled with a number of hilarious references on The Simpsons (1989) actually seemed to renew interest in his music. Two Home Alone films (1990, 1992), JFK (1991), Nixon (1995), Sleepers (1996), Seven Years in Tibet (1997), Saving Private Ryan (1998), Angela's Ashes (1999), and a return to familiar territory with Star Wars: Episode I - The Phantom Menace (1999) recalled his creative diversity of the '70s.

In this millennium, the artist shows no interest in slowing down. His relationships with Spielberg and Lucas continue in A.I. Artificial Intelligence (2001), the remaining Star Wars prequels (2002, 2005), Minority Report (2002), Catch Me If You Can (2002), and a promised fourth Indiana Jones film. There is a more focused effort on concert works, as well, including a theme for the new Walt Disney Concert Hall and a rumored light opera. But one certain highlight is his musical magic for the world of Harry Potter (2001, 2002, 2004, etc.), which he also arranged into a concert suite geared toward teaching children about the symphony orchestra. His music remains on the whistling lips of people around the globe, in the concert halls, on the promenades, in album collections, sports arenas, and parades, and, this writer hopes, touching some place in ourselves. So keep those ears ready wherever you go, 'cause you will likely hear a bit of John Williams on your way.

A classmate of director Sergio Leone with whom he would form one of the great director/composer partnerships (right up there with Eisenstein & Prokofiev, Hitchcock & Herrmann, Fellini & Rota), Ennio Morricone studied at Rome's Santa Cecilia Conservatory, where he specialized in trumpet. His first film scores were relatively undistinguished, but he was hired by Leone for A Fistful of Dollars (1964) on the strength of some of his song arrangements. His score for that film, with its sparse arrangements, unorthodox instrumentation (bells, electric guitars, harmonicas, the distinctive twang of the jew's harp) and memorable tunes, revolutionized the way music would be used in Westerns, and it is hard to think of a post-Morricone Western score that doesn't in some way reflect his influence. Although his name will always be synonymous with the spaghetti Western, Morricone has also contributed to a huge range of other film genres: comedies, dramas, thrillers, horror films, romances, art movies, exploitation movies - making him one of the film world's most versatile artists. He has written nearly 400 film scores, so a brief summary is impossible, but his most memorable work includes the Leone films, Gillo Pontecorvo's The Battle of Algiers (1966) , Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988), plus a rare example of sung opening credits for Pier Paolo Pasolini's The Hawks and the Sparrows (1966).

Composer and conductor Alexandre Desplat, Oscar winner and seven-time Academy Award nominated, for his prolific filmography and his collaborations with Stephen Frears, Terrence Malick, Ang Lee, Kathryn Bigelow, Jacques Audiard, Wes Anderson, Roman Polanski, George Clooney or Matteo Garrone is one of the most worthy heirs of the French masters of film music.

Brought up in a cultural and musical mix thanks to his Greek mother and his French father who studied and got married in California, he grew up listening to French symphonists, Ravel or Debussy , world music and jazz.

He studied piano and trumpet before choosing the flute as the main instrument. As a free auditor in Claude Ballif's analysis class at the CNSM, he enriches his classical musical education by studying Brazilian and African music. He will record later with Carlinhos Brown or Ray Lema.

Passionate about film music, it's as much his musical sensitivity as his intimate approach to cinematographic language that will allow his privileged relationship with filmmakers. Inspired by the scores of Maurice Jarre, Bernard Herrmann, Nino Rota or Georges Delerue, it is after hearing the score of John Williams for Star Wars: Episode IV - A New Hope (1977) that he decides to compose exclusively for the big screen.

During the recording of his first feature film he meets violinist Dominique Lemonnier. This is the beginning of an exceptional artistic exchange as she becomes her favorite soloist, artistic director and wife. With his strong sense of interpretation, his creative spirit and his singular violin playing, Solré inspired Alexandre's compositions, influencing his music in depth, initiating a new way of writing for the strings in the cinema.

Collaborator of Jacques Audiard since his first film, he creates for his works strong and singular compositions and he won in 2005 for The Beat That My Heart Skipped (2005) the Silver Bear of the Berlinale, and his first Caesar. He works in France with Philippe de Broca and Francis Girod but Girl with a Pearl Earring (2003) of Peter Webber, his 50th score for the film, he gets a first Golden Globe nomination and BAFTA and began his rise in Hollywood. Leading American career and European collaborations and remaining faithful to his directors, he composes among others Syriana (2005)'s scores of Stephen Gaghan, Birth (2004) of Jonathan Glazer, Coco Before Chanel (2009) by Anne Fontaine, Army of Crime (2009) by Robert Guédiguian, The Heir Apparent: Largo Winch (2008) by Jérôme Salle, Intimate Enemies (2007) or Hostage (2005) by Florent-Emilio Siri.

Prizes and collaborations with the greatest directors follow one another. In 2007, he received his first Oscar nomination for Stephen Frears's The Queen (2006) and won his first European Film Award. The same year, he won the Golden Globe, the Los Angeles Film Critics Association Award, and the World Soundtrack Award for John Curran's score The Painted Veil (2006), performed by pianist Láng Lang. He composed in 2008 for Lust, Caution (2007) by Ang Lee and The Curious Case of Benjamin Button (2008) by David Fincher which will earn him a second Oscar nomination and a fourth Golden Globes and BAFTA nomination.

With his score for The Ghost Writer (2010) by Roman Polanski, he won in 2010 a second César and a second European Film Award. The same year he wrote the music of The Twilight Saga: New Moon (2009) by Chris Weitz, whose album was a platinum record, and Tom Hooper's The King's Speech (2010) for which he won the BAFTA, the Grammy Award, and was nominated for the fourth time at the Oscars and for the fifth time at the Golden Globes.

In 2010-2011 he wrote the music of Harry Potter and the Deathly Hallows: Part 1 (2010) and Harry Potter and the Deathly Hallows: Part 2 (2011) which became the third greatest success of all time. He composed in 2011 nine partitions, The Tree of Life (2011) of Terrence Malick, Carnage (2011) by Roman Polanski, Fantastic Mr. Fox (2009) by George Clooney , which earned him another Oscar nomination, The Well-Digger's Daughter (2011) by Daniel Auteuil and The Ides of March (2011) by George Clooney.

In 2012 he worked with Kathryn Bigelow for Zero Dark Thirty (2012), Matteo Garrone for Reality (2012), Gilles Bourdos for Renoir (2012), Jérôme Salle for Zulu (2013), George Clooney for Moonrise Kingdom (2012) and Jacques Audiard for Rust and Bone (2012) for which he won a third Cesar. For his score of Argo (2012) of Ben Affleck, Oscar for Best Picture, it is named for the sixth time BAFTA, and for the fifth time at the Golden Globes and the Oscars.

He signed in 2013 the partition The Monuments Men (2014) from George Clooney, Venus in Fur (2013) of Roman Polanski, and was appointed to the BAFTAs and the Oscars for Philomena (2013) of Stephen Frears.

In 2014 he composed the music Godzilla (2014) of Gareth Edwards, and receives exceptional fact, two Oscar nominations for The Imitation Game (2014) of Morten Tyldum and The Grand Budapest Hotel (2014) by George Clooney, for which he won a BAFTA, Grammy and Oscar.

Member of the jury of the Cannes Film Festival in 2012, he became in 2014 the first composer President of the jury of the Venice Film Festival. Crowning long years of collaboration, he directed the London Symphony Orchestra in December 2014 for a concert of his works at the Barbican Theater in London.

In 2018, Alexandre Desplat received a second Oscar, a Golden Globe and a BAFTA for The Shape of Water (2017) of Guillermo del Toro.

German-born composer Hans Zimmer is recognized as one of Hollywood's most innovative musical talents. He featured in the music video for The Buggles' single "Video Killed the Radio Star", which became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV (August 1, 1981).

Hans Florian Zimmer was born in Frankfurt am Main, then in West Germany, the son of Brigitte (Weil) and Hans Joachim Zimmer. He entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers, which included the film My Beautiful Laundrette (1985). He soon began work on several successful solo projects, including the critically acclaimed A World Apart, and during these years Zimmer pioneered the use of combining old and new musical technologies. Today, this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.

A turning point in Zimmer's career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year, Zimmer composed the score for another Best Picture Oscar recipient, Driving Miss Daisy (1989), starring Jessica Tandy, and Morgan Freeman.

Having already scored two Best Picture winners, in the early 1990s, Zimmer cemented his position as a preeminent talent with the award-winning score for The Lion King (1994). The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score, a Golden Globe, an American Music Award, a Tony, and two Grammy Awards. In total, Zimmer's work has been nominated for 7 Golden Globes, 7 Grammys and seven Oscars for Rain Man (1988), Gladiator (2000), The Lion King (1994), As Good as It Gets (1997), The The Preacher's Wife (1996), The Thin Red Line (1998), The Prince of Egypt (1998), and The Last Samurai (2003).

With his career in full swing, Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers' guidance. With state-of-the-art technology and a supportive creative environment, Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical "think tank." This approach helped launch the careers of such notable composers as Mark Mancina, John Powell, Harry Gregson-Williams, Nick Glennie-Smith, and Klaus Badelt.

In 2000, Zimmer scored the music for Gladiator (2000), for which he received an Oscar nomination, in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album Gladiator: More Music From The Motion Picture, released on the Universal Classics/Decca label. Zimmer's other scores that year included Mission: Impossible II (2000), The Road to El Dorado (2000), and An Everlasting Piece (2000), directed by Barry Levinson.

Some of his other impressive scores include Pearl Harbor (2001), The Ring (2002), four films directed by Ridley Scott; Matchstick Men (2003), Hannibal (2001), Black Hawk Down (2001), and Thelma & Louise (1991), Penny Marshall's Riding in Cars with Boys (2001), and A League of Their Own (1992), Tony Scott's True Romance (1993), Tears of the Sun (2003), Ron Howard's Backdraft (1991), Days of Thunder (1990), Smilla's Sense of Snow (1997), and the animated Spirit: Stallion of the Cimarron (2002) for which he also co-wrote four of the songs with Bryan Adams, including the Golden Globe nominated Here I Am.

At the 27th annual Flanders International Film Festival, Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-voice choir. Choosing selections from his impressive body of work, Zimmer performed newly orchestrated concert versions of Gladiator, Mission: Impossible II (2000), Rain Man (1988), The Lion King (1994), and The Thin Red Line (1998). The concert was recorded by Decca and released as a concert album entitled "The Wings Of A Film: The Music Of Hans Zimmer."

In 2003, Zimmer completed his 100th film score for the film The Last Samurai, starring Tom Cruise, for which he received both a Golden Globe and a Broadcast Film Critics nomination. Zimmer then scored Nancy Meyers' comedy Something's Gotta Give (2003), the animated Dreamworks film, Shark Tale (2004) (featuring voices of Will Smith, Renée Zellweger, Robert De Niro, Jack Black, and Martin Scorsese), and Jim Brooks' Spanglish (2004) starring Adam Sandler and Téa Leoni (for which he also received a Golden Globe nomination). His 2005 projects include Paramount's The Weather Man (2005) starring Nicolas Cage, Dreamworks' Madagascar (2005), and the Warner Bros. summer release, Batman Begins (2005).

Zimmer's additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review, and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP's Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of four children.

The man behind the low woodwinds that open Citizen Kane (1941), the shrieking violins of Psycho (1960), and the plaintive saxophone of Taxi Driver (1976) was one of the most original and distinctive composers ever to work in film. He started early, winning a composition prize at the age of 13 and founding his own orchestra at the age of 20. After writing scores for Orson Welles's radio shows in the 1930s (including the notorious 1938 "The War of the Worlds" broadcast), he was the obvious choice to score Welles's film debut, Citizen Kane (1941), and, subsequently, The Magnificent Ambersons (1942), although he removed his name from the latter after additional music was added without his (or Welles's) consent when the film was mutilated by a panic-stricken studio. Herrmann was a prolific film composer, producing some of his most memorable work for Alfred Hitchcock, for whom he wrote nine scores. A notorious perfectionist and demanding (he once said that most directors didn't have a clue about music, and he blithely ignored their instructions--like Hitchcock's suggestion that Psycho (1960) have a jazz score and no music in the shower scene). He ended his partnership with Hitchcock after the latter rejected his score for Torn Curtain (1966) on studio advice. He was also an early experimenter in the sounds used in film scores, most famously The Day the Earth Stood Still (1951), scored for two theremins, pianos, and a horn section; and was a consultant on the electronic sounds created by Oskar Sala on the mixtrautonium for The Birds (1963). His last score was for Martin Scorsese's Taxi Driver (1976) and died just hours after recording it. He also wrote an opera, "Wuthering Heights", and a cantata, "Moby Dick".

Austrian composer Max Steiner achieved legendary status as the creator of hundreds of classic American film scores. He was born Maximilian Raoul Walter Steiner in Vienna, Austria, the son of Marie Mizzi (Hasiba) and Gabor Steiner, an impresario, and the grandson of actor and theater director and manager Maximilian Steiner. His family was Jewish. As a child, he was astonishingly musically gifted, composing complex works as a teenager and completing the course of study at Vienna's Hochschule fuer Musik und Darstellende Kunst in only one year, at the age of sixteen. He studied under Gustav Mahler and, before the age of twenty, made his living as a conductor and as composer of works for the theater, the concert hall, and vaudeville. After a brief sojourn in Britian, Steiner moved to the USA and quickly became a sought-after orchestrator and conductor on Broadway, bringing the Western classical tradition in which he had been raised to mainstream audiences.

He was soon snatched up by the film studios with the advent of sound and helped the fledgling talkies become musically sophisticated within a brief few years. He was one of the first to fully integrate the musical score with the images on-screen and to score individual scenes for their content and create leitmotifs for individual characters, as opposed to simply providing vaguely appropriate mood music, as evidenced in King Kong (1933), which set the standard for American film music for years to come.

From the 1930s to the 1960s, he was one of the most respected, innovative, and brilliant composers of American film music, creating a truly staggering number of exceptional scores for films of all types. He was nominated for Academy Awards for his scores eighteen times and won three times. Years after his death in 1971, he remains one of the giants of motion picture history, and his music still thrives.

Born in Milan in 1911 into a family of musicians, Nino Rota was first a student of Orefice and Pizzetti. Then, still a child, he moved to Rome where he completed his studies at the Conservatory of Santa Cecilia in 1929 with Alfredo Casella. In the meantime, he had become an 'enfant prodige', famous both as a composer and as an orchestra conductor. His first oratorio, "L'infanzia di San Giovanni Battista," was performed in Milan and Paris as early as 1923 and his lyrical comedy, "Il Principe Porcaro," was composed in 1926. From 1930 to 1932, Nino Rota lived in the USA. He won a scholarship to the Curtis Institute of Philadelphia where he attended classes in composition taught by Rosario Scalero and classes in orchestra taught by Fritz Reiner. He returned to Italy and earned a degree in literature from the University of Milan. In 1937, he began a teaching career that led to the directorship of the Bari Conservatory, a title he held from 1950 until his death in 1979. After his "childhood" compositions, Nino Rota wrote the following operas: Ariodante (Parma 1942), Torquemada (1943), Il cappello di paglia di Firenze (Palermo 1955), I due timidi (RAI 1950, London 1953), La notte di un neurastenico (Premio Italia 1959, La Scala 1960), Lo scoiattolo in gamba (Venezia 1959), Aladino e la lampada magica (Naples 1968), La visita meravigliosa (Palermo 1970), Napoli milionaria (Spoleto Festival 1977). He also wrote the following ballets: La rappresentazione di Adamo ed Eva (Perugia 1957), La Strada (La Scala 1965), Aci e Galatea (Rome 1971), Le Molière imaginaire (Paris and Brussels 1976) and Amor di poeta (Brussels 1978) for Maurice Béjart. In addition, there are countless works for orchestra that have been performed since before World War II and are still performed by orchestras in every part of the world. His work in film dates back to the early forties. His filmography includes the names of virtually all of the noted directors of his time. First among these is Federico Fellini. He wrote all of the movie scores for Fellini's films from The White Sheik (1952) in 1952 to Orchestra Rehearsal (1978) in 1978. Other directors include Renato Castellani, Luchino Visconti, Franco Zeffirelli, Mario Monicelli, Francis Ford Coppola (Oscar for best original score for The Godfather Part II (1974)), King Vidor, René Clément, Edward Dmytryk, and 'Eduardo de Filippo'. He also composed the music for many theatre productions by Visconti, Zefirelli, and de Filippo. In February of 1995, the Nino Rota Foundation was established at Fondazione Cini of Venice, Italy. Cini specializes in the works of 20th century Italian composers and includes the estate of Casella.

Born on February 10, 1929, Jerry Goldsmith studied piano with Jakob Gimpel and composition, theory, and counterpoint with Mario Castelnuovo-Tedesco. He also attended classes in film composition given by Miklós Rózsa at the Univeristy of Southern California. In 1950, he was employed as a clerk typist in the music department at CBS. There, he was given his first embryonic assignments as a composer for radio shows such as "Romance" and "CBS Radio Workshop". He wrote one score a week for these shows, which were performed live on transmission. He stayed with CBS until 1960, having already scored The Twilight Zone (1959). He was hired by Revue Studios to score their series Thriller (1960). It was here that he met the influential film composer Alfred Newman who hired Goldsmith to score the film Lonely Are the Brave (1962), his first major feature film score. An experimentalist, Goldsmith constantly pushed forward the bounds of film music: Planet of the Apes (1968) included horns blown without mouthpieces and a bass clarinetist fingering the notes but not blowing. He was unafraid to use the wide variety of electronic sounds and instruments which had become available, although he did not use them for their own sake.

He rose rapidly to the top of his profession in the early to mid-1960s, with scores such as Freud (1962), A Patch of Blue (1965) and The Sand Pebbles (1966). In fact, he received Oscar nominations for all three and another in the 1960s for Planet of the Apes (1968). From then onwards, his career and reputation was secure and he scored an astonishing variety of films during the next 30 years or so, from Patton (1970) to Star Trek: The Motion Picture (1979) and from Chinatown (1974) to The Boys from Brazil (1978). He received 17 Oscar nominations but won only once, for The Omen (1976) in 1977 (Goldsmith himself dismissed the thought of even getting a nomination for work on a "horror show"). He enjoyed giving concerts of his music and performed all over the world, notably in London, where he built up a strong relationship with London Symphony Orchestra.

Jerry Goldsmith died at age 75 on July 21, 2004 after a long battle with cancer.

Unlike many musicians who started to learn music while still in their childhood, Maurice Jarre was already late in his teens when he discovered music and decided to make a career in that field. Against his father's will, he enrolled at Conservatoire de Paris where he studied percussions, composition and harmonies. He also met and studied under Joseph Martenot, inventor of the Martenot Waves, an electronic keyboard that prefigured the modern synthesizer.

After leaving the Conservatoire, Jarre played percussion and Martenot Waves for a while at Jean-Louis Barrault's theater. In 1950, another actor-director, Jean Vilar , asked Jarre to score his production of Kleist's 'The Princess of Homburg', the first score Jarre wrote. Shortly after, Vilar created the 'Théâtre National Populaire' and hired Jarre as permanent composer, an association that lasted 12 years.

In 1951, filmmaker Georges Franju asked him to write the music of his 23 minutes documentary House of the Invalids (1952), Jarre's first composition for the movie screen. His first full-length feature, again directed by Georges Franju, was Head Against the Wall (1959) followed by Franju's best known film, Eyes Without a Face (1960).

Jarre's career took a spectacular turn in 1961 when producer Sam Spiegel asked him to work on David Lean's Lawrence of Arabia (1962). Initially, three composers were supposed to write the score, but for various reasons, Jarre ended up writing all the music himself and won his first Oscar. His second collaboration with David Lean on Doctor Zhivago (1965) earned him another Oscar and obtained a level of success rarely achieved by a film score. He collaborated with Lean again on Ryan's Daughter (1970) and A Passage to India (1984) for which he received a third Academy Award. He was set to score Lean's next movie, 'Nostromo', but the director became ill and died before the film could ever get made.

He also worked for directors as diverse as William Wyler (The Collector (1965)); John Huston (three films); Franco Zeffirelli (Jesus of Nazareth (1977)); Volker Schlöndorff (The Tin Drum (1979) [The Tin Drum] and Circle of Deceit (1981) [Circle of Deceit]); Peter Weir (four films); Michael Apted (Gorillas in the Mist (1988)) and Alfonso Arau (A Walk in the Clouds (1995)).

Mainly perceived as a symphonist and known for his prominent use of percussions, Jarre often integrated ethnic instruments in his orchestrations like cithara on 'Lawrence of Arabia' or fujara (an old Slovak flute) on 'The Tin Drum'. During the eighties, he incorporated synthetic sounds in his music, writing his first entirely electronic score for The Year of Living Dangerously (1982). His son Jean-Michel Jarre is a well-known popular musician.

Howard Shore is a Canadian composer, born in Toronto. He was born in a Jewish family. He started studying music when 8-years-old, and played as a member of bands by the time he was 13-years-old. He was interested in a professional career in music as a teenager. He studied music at the Berklee College of Music, a college of contemporary music located in Boston.

For a few years in the late 1960s and early 1970s, Shore was a member of Lighthouse, a jazz fusion band. In the 1970s, Shore mainly composed music for theatrical performances and a few television shows. His most notable work was composing the music for the one-man-act show of stage magician Doug Henning. He also served as a musical director in then-new television show "Saturday Night Live" (1975-). He was hired by the show's producer Lorne Michaels, who was a close friend of Shore since their teen years.

In 1978, Shore started his career as a film score composer, with scoring the B-movie " I Miss You, Hugs and Kisses" (1978). His next film score was composed for the horror film "The Brood" (1979). Shore had a good working relationship with the film's director David Cronenberg. Cronenberg would continue to use Shore as the composer of most of his films, with the exception of "The Dead Zone" (1983).

In the 1980s, Shore also composed the film scores of works by other directors, such as "After Hours" (1985) by Martin Scorsese, and "Big" (1988) by Penny Marshall. He received more acclaim for composing the film score for "The Silence of the Lambs" (1991), a major hit of its era. Shore was nominated for a BAFTA award for this film score.

By the 1990s, Shore was an established composer of high repute and worked in an ever increasing number of films. Among his better known works were the film scores for comedy film "Mrs. Doubtfire" (1993) and crime thriller "Seven" (1995). Shore received even more critical acclaim in the 2000s, when he composed the film score for fantasy film "The Lord of the Rings: The Fellowship of the Ring" (2001). He won an Academy Award and a Grammy for the film score, and received nominations for a BAFTA award and a Golden Globe.

Shore continued his career with the film scores of acclaimed films "Gangs of New York" (2002), "The Lord of the Rings: The Two Towers" (2002), and "The Lord of the Rings: The Return of the King" (2003). He received his second Academy Award for the film score of "The Return of the King", and his third Academy Award as the composer of hit song "Into the West". He won several other major awards for these film scores. His film scores for "The Lord of the Rings" trilogy are considered the most famous and successful works of his career.

For the rest of the 2000s, Shore closely collaborated with director Martin Scorsese. Shore won a Golden Globe for the film score of Scorsese's "The Aviator" (2004). In the 2010s, Shore continues to work regularly, mostly known for composing film scores for works by directors David Cronenberg, Martin Scorsese, and Peter Jackson. He was the main composer for "The Hobbit" trilogy by Peter Jackson, and the fantasy film "The Twilight Saga: Eclipse" (2010) by David Slade.

Born in Cleveland, Ohio, but brought up in Pennsylvania, where he played the flute in a local band, as a youth, before sending some arrangements to Benny Goodman. Goodman offered him a job and, after serving in WWII, he joined the rearranged Glenn Miller band. In 1952, he was given a two-week assignment at Universal to work on an Bud Abbott and Lou Costello film and ended up staying for six years. Success with The Glenn Miller Story (1954) allowed him to score many other films, helping along the way to change the style of film background music by injecting jazz into the traditional orchestral arrangements of the 1950s. He was nominated for 18 Oscars and won four; in addition, he won 20 Grammys and 2 Emmys, made over 50 albums and had 500 works published. Mancini collaborated extensively with Blake Edwards -- firstly on TV's Peter Gunn (1958), then on Breakfast at Tiffany's (1961), which won him two Oscars; he won further Oscars for the titles song for Days of Wine and Roses (1962) and the score for Victor/Victoria (1982); he will be best-remembered for the theme tune for The Pink Panther (1963).

Elmer Bernstein was educated at the Walden School and New York University. He served in the US Army Air Corps in World War II, writing scores for the service radio unit. He also wrote and arranged musical numbers for Glenn Miller's Army Air Force Band. A prolific and respected film music composer, he was a protégé of Aaron Copland, who studied music with Roger Sessions and Stefan Wolpe. Bernstein worked in various artistic endeavors, including painting and the theatre and also performed as an actor and dancer. Among his early composition work were scores for United Nations radio programs and television and industrial documentaries. His original scores for films range over an enormous variety of styles, with his groundbreaking jazz score for The Man with the Golden Arm (1955), light musical comedies such as his Oscar-winning Thoroughly Modern Millie (1967) score, and perhaps his most familiar score, for the western The Magnificent Seven (1960). Between 1963 and 1969, Bernstein served as vice president of the Academy of Motion Picture Arts & Sciences.

A few years before before his death, he acquired something of a cult status among fans of English football when his familiar main theme for The Great Escape (1963) was adopted by them and hummed and played, lustily, during matches.

A child prodigy, Miklos Rózsa learned to play the violin at the age of five and read music before he was able to read words. In 1926, he began studying at the Leipzig Conservatory where he was considered a brilliant student. He obtained his doctorate in music in 1930. Moving to Paris the following year, Rózsa had much of his own chamber music performed, as well as his 'Variations on a Hungarian Peasant Song' and his 'Symphony and Serenade for Small Orchestra'. However, he soon became disenchanted with meagre wages for playing classical music in concert. Attempting to change his financial situation, Rózsa managed to secure a contract with Pathe records to compose music for use in intermissions between movies. This was to be his first step in entering the more lucrative field of film composition. In 1935, Rózsa went to London after being invited by the Hungarian Legation to write the music for a ballet. The resulting work, 'Hungaria', so impressed the director Jacques Feyder that he set up a meeting with fellow Hungarian Alexander Korda, who then commissioned him to write an opulent score for the romantic drama Knight Without Armor (1937). Rózsa later recalled having to learn to write music for films 'the hard way': "I bought one German and one Russian book on the technique of film music and everything I learned from these books was absolutely wrong! But then I had long conferences with Muir Mathieson, who was the music director and conductor for Korda, and somehow I learned."

While writing the score for The Thief of Bagdad (1940), Rózsa relocated to Hollywood where he remained gainfully employed over the next four decades. An expert at orchestration and counterpoint with a great flair for the dramatic, he often concentrated on the psychological aspects of a film. One of his innovations was the use of a theremin for the famous dream sequence in Spellbound (1945) which accompanies Salvador Dalí's transcendental nightmare images. Few composers have managed to convey suspense and tension as powerfully as Rózsa with his eerily haunting scores for some of the Golden Era's best films noir (Double Indemnity (1944), The Strange Love of Martha Ivers (1946), The Killers (1946), The Naked City (1948)) or his lush, stirring music for spectacular epics (Quo Vadis (1951), Ivanhoe (1952), El Cid (1961)). In addition to winning three Oscars for his film work, Rózsa also continued as a prolific composer of classical music, including Violin and Piano Concertos, a Concerto for String Orchestra, a Sinfonia Concertante and Notturno Ungherese (influenced, respectively, by Stravinsky and Bartók). In 1945, he was appointed Professor of Composition at the University of Southern California where also lectured on the subject for many years.

Alfred Newman is an American composer, arranger, and conductor of film music.

From his start as a music prodigy, he came to be regarded as a respected figure in the history of film music. He won nine Academy Awards and was nominated 45 times, contributing to the Newmans being the most nominated Academy Award extended family, with a collective 92 nominations in various music categories.

In a career spanning more than four decades, Newman composed the scores for over 200 motion pictures. Some of his most famous scores include All About Eve (1950), Anastasia (1956), Wuthering Heights (1939), The Hunchback of Notre Dame (1939), The Mark of Zorro (1940), How Green Was My Valley (1941), The Song of Bernadette (1943), Captain from Castile (1947), Love Is a Many-Splendored Thing (1955), The Diary of Anne Frank (1959), How the West Was Won (1962), The Greatest Story Ever Told (1965), and his final score, Airport (1970), all of which were nominated for or won Academy Awards. He is perhaps best known for composing the fanfare which accompanies the studio logo at the beginning of 20th Century Fox's productions.

Newman was highly regarded as a conductor, and arranged and conducted many scores by other composers, including George Gershwin, Charles Chaplin, and Irving Berlin. He also conducted the music for many film adaptations of Broadway musicals (having worked on Broadway for ten years before coming to Hollywood), as well as many original Hollywood musicals.

He was among the first musicians to compose and conduct original music during Hollywood's Golden Age of movies, later becoming a respected and powerful music director in the history of Hollywood.

John Barry was born in York, England in 1933, and was the youngest of three children. His father, Jack, owned several local cinemas and by the age of fourteen, Barry was capable of running the projection box on his own - in particular, The Rialto in York. As he was brought up in a cinematic environment, he soon began to assimilate the music which accompanied the films he saw nightly to a point when, even before he'd left St. Peters school, he had decided to become a film music composer. Helped by lessons provided locally on piano and trumpet, followed by the more exacting theory taught by tutors as diverse as Dr Francis Jackson of York Minster and William Russo, formerly arranger to Stan Kenton and His Orchestra, he soon became equipped to embark upon his chosen career, but had no knowledge of how one actually got a start in the business. A three year sojourn in the army as a bandsman combined with his evening stints with local jazz bands gave him the idea to ease this passage by forming a small band of his own. This was how The John Barry Seven came into existence, and Barry successfully launched them during 1957 via a succession of tours and TV appearances. A recording contract with EMI soon followed, and although initial releases made by them failed to chart, Barry's undoubted talent showed enough promise to influence the studio management at Abbey Road in allowing him to make his debut as an arranger and conductor for other artists on the EMI roster.

A chance meeting with a young singer named Adam Faith, whilst both were appearing on astage show version of the innovative BBC TV programme, Six-Five Special (1957), led Barry to recommend Faith for a later BBC TV series, Drumbeat (1959), which was broadcast in 1959. Faith had made two or three commercially unsuccessful records before singer/songwriter Johnny Worth, also appearing on Drumbeat, offered him a song he'd just finished entitled What Do You Want? With the assistance of the JB7 pianist, Les Reed, Barry contrived an arrangement considered suited to Faith's soft vocal delivery, and within weeks, the record was number one. Barry (and Faith) then went from strength to strength; Faith achieving a swift succession of chart hits, with Barry joining him soon afterwards when the Seven, riding high on the wave of the early sixties instrumental boom, scored with Hit & Miss, Walk Don't Run and Black Stockings.

Faith had long harboured ambitions to act even before his first hit record and was offered a part in the up and coming British movie, Wild for Kicks (1960), at that time. As Barry was by then arranging not only his recordings but also his live Drumbeat material, it came as no surprise when the film company asked him to write the score to accompany Faith's big screen debut. It should be emphasised that the film was hardly a cinematic masterpiece. However, it did give Faith a chance to demonstrate his acting potential, and Barry the chance to show just how quickly he'd mastered the technique of film music writing. Although the film and soundtrack album were both commercial successes, further film score offers failed to flood in. On those that did, such as Never Let Go (1960) and The Amorous Mr. Prawn (1962), Barry proved highly inventive, diverse and adaptable and, as a result, built up a reputation as an emerging talent. It was with this in mind that Noel Rogers, of United Artists Music, approached him in the summer of '62, with a view to involving him in the music for the forthcoming James Bond film, Dr. No (1962).

He was also assisted onto the cinematic ladder as a result of a burgeoning relationship with actor/writer turned director Bryan Forbes, who asked him to write a couple of jazz numbers for use in a club scene in Forbes' then latest film, The L-Shaped Room (1962). From this very modest beginning, the couple went on to collaborate on five subsequent films, including the highly acclaimed Seance on a Wet Afternoon (1964), King Rat (1965) and The Whisperers (1967). Other highlights from the sixties included five more Bond films, Zulu (1964), Born Free (1966) (a double Oscar), The Lion in Winter (1968) (another Oscar) and Midnight Cowboy (1969).

In the seventies he scored the cult film Walkabout (1971), The Last Valley (1971), Mary, Queen of Scots (1971) (Oscar nomination), wrote the theme for The Persuaders! (1971), a musical version of Alice's Adventures In Wonderland and the hit musical Billy. Then, in 1974, he made the decision to leave his Thameside penthouse apartment for the peace of a remote villa he was having built in Majorca. He had been living there for about a year, during which time he turned down all film scoring opportunities, until he received an invitation to write the score for the American TV movie, Eleanor and Franklin (1976). In order to accomplish the task, he booked into the Beverly Hills Hotel for six weeks in October 1975. However, during this period, he was also offered Robin and Marian (1976) and King Kong (1976), which caused his stay to be extended. He was eventually to live and work in the hotel for almost a year, as more assignments were offered and accepted. His stay on America's West Coast eventually lasted almost five years, during which time he met and married his wife, Laurie, who lived with him at his Beverly Hills residence. They moved to Oyster Bay, New York and have since split their time between there and a house in Cadogan Square, London.

After adopting a seemingly lower profile towards the end of the seventies, largely due to the relatively obscure nature of the commissions he accepted, the eighties saw John Barry re-emerge once more into the cinematic limelight. This was achieved, not only by continuing to experiment and diversify, but also by mixing larger budget commissions of the calibre of Body Heat (1981), Jagged Edge (1985), Out of Africa (1985) (another Oscar) and The Cotton Club (1984) with smaller ones such as the TV movies, Touched by Love (1980) and Svengali (1983). Other successes included: Somewhere in Time (1980), Frances (1982), three more Bond films, and Peggy Sue Got Married (1986).

After serious illness in the late eighties, Barry returned with yet another Oscar success with Dances with Wolves (1990) and was also nominated for Chaplin (1992). Since then he scored the controversial Indecent Proposal (1993), My Life (1993), Deception (1992), Cry, the Beloved Country (1995) and has made compilation albums for Sony (Moviola and Moviola II) and non-soundtrack albums for Decca ('The Beyondness Of Things' & 'Eternal Echoes').

In the late nineties he made a staggeringly successful return to the concert arena, playing to sell-out audiences at the Royal Albert Hall. Since then he has appeared as a guest conductor at a RAH concert celebrating the life and career of Elizabeth Taylor and made brief appearances at a couple of London concerts dedicated to his music. In 2004 he re-united with Don Black to write his fifth stage musical, Brighton Rock, which enjoyed a limited run at The Almeida Theatre in London.

He continued to appear at concerts of his own music, often making brief appearances at the podium. In November 2007, Christine Albanel, the French Minister for Culture, appointed him Commander in the National Order of Arts and Letters. The award was made at the eighth International Festival Music and Cinema, in Auxerre, France, when, in his honour, a concert of his music also took place.

In August 2008 he was working on a new album, provisionally entitled Seasons, which he has described as "a soundtrack of his life." A new biography, "John Barry: The Man with The Midas Touch", by Geoff Leonard, Pete Walker, and Gareth Bramley, was published in November 2008.

He died following a heart-attack on 30th January 2011, at his home in Oyster Bay, New York.

Michael Nyman studied piano, harpsichord and music history with Alan Bush at the Royal Academy of Music, and musicology with Thurston Dart at King's College, London. Between 1968 and 1978 he worked as a music critic and in 1977 he founded the Campiello Band, later renamed the Michael Nyman Band. Many of his filmscores were composed for the films of Peter Greenaway. He has also written several operas, ballet music and a large number of chamber and concert pieces.

Randy Newman is an American film composer and singer who is well-known for composing The Princess and the Frog, Meet the Parents and various Pixar films including the Toy Story, Monsters, Inc and Cars franchises as well as A Bug's Life. He wrote iconic songs such as "Short People", "You've Got A Friend in Me" and "We Belong Together". He won Best Original Song for Toy Story 3.

Thomas Newman is an American film score composer. He was born in Los Angeles. His father was notable film score composer Alfred Newman (1900-1970). The Newman family is of Russian-Jewish descent, and includes several other well-known musicians. Thomas' mother Martha Louis Montgomery (1920-2005) wanted her sons to have a musical education. Thomas attended regular lessons in violin as a child. An older Thomas received his musical education while attending the University of Southern California and Yale University. Thomas Newman graduated as Bachelor of Arts in 1977, and a Master of Music in 1978.

Thomas originally composed music for theatrical productions in Broadway, working with his mentor Stephen Sondheim. His uncle Lionel Newman asked him to compose music for the television series "The Paper Chase" (1978-1979, 1986), which was Thomas' first credit in a television production.

In the 1980s, Thomas first worked in film. Composer John Williams, a close family friend, hired Thomas to work in the music department for space opera film "Return of the Jedi" (1983). Thomas' main work in the film was orchestrating the music in a scene where character Darth Vader dies. Afterwards, Thomas was approached by film producer Scott Rudin and hired to work as a film score composer in his own right. His first work in the field was the film score of romantic drama "Reckless" (1984).

While he worked regularly as a film score composer during the 1980s, Thomas reportedly felt he had to retrain himself for a hard and demanding job. It reportedly took him 8 years to not feel fraudulent in his efforts. In 1994, Thomas received his first Academy Award nominations, for the film scores of "The Shawshank Redemption" (1994) and "Little Women" (1994). He lost the Award to rival composer Hans Zimmer, who had been nominated for the film score of the animated film "The Lion King" (1994).

Newman was an established and increasingly famous composer in the 1990s. He received further Academy Award nominations, although he never actually won. Among his more notable works was the film score of the drama film "American Beauty" (1999), which earned Thomas both a Grammy and a BAFTA award. Newman had a good working relationship with the film's director Sam Mendes. Mendes has kept hiring Thomas as the composer for most of his films. The main exception being the comedy-drama film "Away We Go" (2009), which did not have a film score.

In the 2000s, Thomas continued working in high-profile films, such as "Road to Perdition" (2002), "Finding Nemo" (2003), and "Lemony Snicket's A Series of Unfortunate Events". By 2006, he had been nominated eight times for an Academy Award, while never winning it. He started joking about his lack of victories in public.

In 2008, Thomas was nominated for two Academy Awards, for both the film score and an original song for the animated film "WALL-E" (2008). He won neither, though the hit song "Down to Earth" earned him a Grammy Award. He continues to work regularly in the 2010s. Among his more acclaimed works were the film scores for spy film "Skyfall" (2012) and period drama "Saving Mr. Banks" (2013). He has continued being nominated for Academy Awards. As of 2020, he has been nominated 15 times for the Academy Award. He is the most nominated living composer to have never actually won an Academy Award, tied with Alex North. He has won a total of 5 Grammy awards.

At the least George Auric was a fine musician, having been a child prodigy, but he was much more in the musical world. He studied under Vincent D'Indy (a devotee of Cesar Franck and the German school of symphonic composition) and attended the Paris Conservatory (1920). By the time he was 20 he had orchestrated and written incidental music for ballets and the stage. With some interest in the avant garde, he became a friend of Erik Satie and playwright Jean Cocteau and joined their friends, the musical group "Les Six", whose members were impressive: Darius Milhaud, Francis Poulenc, Arthur Honegger, Germaine Tailleferre (the only woman member), and Louis Durey. Auric moved into music criticism for a short time and then began composing for poetic and other textual formats from his Les Six associations. But his stylistic development would prove to be very classical in sympathy.

He especially continued his association with Cocteau who finally turned to films, and Auric turned to writing film scores. Their first collaboration was Cocteau's Blood of the Poet (1930). But Auric did the scores of many small format movies with other French directors through the 1930s and the war years. He was also interested in what the British were doing in film work. His first UK score was for Dead of Night (1945), a stylish horror film. The same year he also scored the Bernard Shaw comedic Caesar and Cleopatra (1945) with Claude Rains and Vivien Leigh. The next year he scored perhaps his most famous musical partnership with Cocteau, Beauty and the Beast (1946). Auric's haunting, subdued music for the movie would be typical of his inventive style of transparent orchestration in which he might use only a few instruments at a time in a particular passage but eventually employ all the usual orchestral instrumentation in this progression to convey the whole of his score. Auric's music (here Stravinsky-like) provided the perfect atmospheric score for the eerie British horror classic The Queen of Spades (1949).

Auric's first American score very much displayed his depth in conveying the nuances of mood change in a story musically. This was the wonderful, bittersweet comedy Roman Holiday (1953), directed by William Wyler and introducing a vivacious Audrey Hepburn to the silver screen. On through the 1950s and into the 1960s Auric was very busy with scores predominately of French films but some notable British and American efforts as well. Among several for the English language were the charming American war drama Heaven Knows, Mr. Allison (1957) with Deborah Kerr and - with Kerr again - the spooky 'Henry James' novel ("Turn of the Screw") UK adaptation The Innocents (1961). For the remainder of the 1960s and sporadically in the mid 1970s, Auric did some additional scoring, mostly French TV, but he was busy elsewhere as of 1962 being director of Paris Opera. Providing a unique finesse to film music, George Auric contributed nearly 130 scores, placing him along side some of the most prolific of the contemporary Hollywood film composers.

Alberto Iglesias was born in 1955 in Donostia-San Sebastián, Guipúzcoa, País Vasco, Spain. He is a composer and actor, known for The Skin I Live In (2011), The Constant Gardener (2005) and Tinker Tailor Soldier Spy (2011).

Alex North studied music at the Curtis Institute of Philadelphia, then won a scholarship to Juilliard in New York (1929) and the Moscow Conservatoire (1933), making him the first-ever American to become a member of the Union of Soviet Composers. In Europe, he worked as music director for the Latvian State Theatre, before returning to the U.S. in 1935 to perfect his craft under the auspices of Aaron Copland. At the same time, he produced his first compositions, including two symphonies, chamber music and dance scores for Martha Graham and Agnes de Mille. After a spell in Mexico as conductor/composer, he served as a captain with the U.S. Army, in charge of 'self-entertainment programs' for hospitalised psychiatric patients. He also did his first film work, scoring documentaries for the Office of War Information.

Profoundly influenced by, above all, Duke Ellington, North began to write several innovative compositions in jazz. His 'Revue for Clarinet and Orchestra' was originally commissioned by Benny Goodman and first performed in 1946 under the direction of Goodman and Leonard Bernstein with the New York Philharmonic Orchestra. Joining ASCAP in 1947, North went on to compose theatrical scores, including 'Death of a Salesman' for Elia Kazan and this opened the door to Hollywood. A Streetcar Named Desire (1951) was the first all-jazz score ever written for a motion picture. His next assignment was the film version of Death of a Salesman (1951), followed by Viva Zapata! (1952), for which he used traditional instruments, including marimbas and timbales.

Much of his subsequent work was characterised by sparse instrumentation (as, for example, Who's Afraid of Virginia Woolf? (1966) and the Oscar-nominated Under the Volcano (1984)). He used jazz again, evocatively, to score The Long, Hot Summer (1958) and The Sound and the Fury (1959), but was rather less successful on more conventional themes, such as The Misfits (1961). One of his most beautiful and lyrical works was the love theme from Spartacus (1960). For the small screen, he composed the music for the two instalments of the popular miniseries Rich Man, Poor Man (1976). Alex North was Oscar-nominated fifteen times but only received the coveted statuette as a Lifetime Achievement Award in 1986.

Tôru Takemitsu was born on 8 October 1930 in Tokyo, Japan. He was a composer, known for Ran (1985), Rising Sun (1993) and Harakiri (1962). He died on 20 February 1996 in Tokyo, Japan.

Dimitri Tiomkin was a Russian Jewish composer who emigrated to America and became one of the most distinguished and best-loved music writers of Hollywood. He won a hallowed place in the pantheon of the most successful and productive composers in American film history, earning himself four Oscars and sixteen Academy Awards nominations. He was born Dimitri Zinovievich Tiomkin on May 10, 1894, in Kremenchug, Russia. His mother, Marie (nee Tartakovsky), was a Russian pianist and teacher. His father, Zinovi Tiomkin, was a renowned medical doctor. His uncle, rabbi Vladimir Tiomkin, was the first President of the World Zionist Union. Young Dimitri began his music studies under the tutelage of his mother. Then, at the St. Petersburg Conservatory, he studied piano under Felix Blumenfeld and Isabelle Vengerova. He also studied composition under the conservatory's director, Aleksandr Glazunov, who appreciated Tiomkin's talent and hired him as a piano tutor for his niece. Soon Dimitri appeared on Russian stages as a child pianist prodigy and continued to develop into a virtuoso pianist. Like other intellectuals in St. Petersburg, Tiomkin frequented the club near the Opera, called Stray Dog Café, where Russian celebrities, including directors Vsevolod Meyerhold and Nicolas Evreinoff, writers Boris Pasternak, Aleksei Tolstoy, Sergei Esenin, Anna Akhmatova, Nikolai Gumilev and Vladimir Mayakovsky, had their bohemian hangout. There Tiomlkin could be seen with his two friends, composer Sergei Prokofiev and choreographer Mikhail Fokin. At that time he also gained exposure and a keen interest in American music, including the works of Irving Berlin, ragtime, blues, and early jazz. Tiomkin started his music career as a piano accompanist for Russian and French silent films in movie houses of St. Petersburg. When the famous comedian Max Linder toured in Russia, he hired Tiomkin to play piano improvisations for the Max Linder Show, and their collaboration was successful. He also provided classical piano accompaniment for the famous ballerina Tamara Karsavina. However, the 1917 Communist Revolution in Russia caused dramatic political and economic changes. From 1917 to 1921 Tiomkin was a Red Army staff composer, writing scores for revolutionary mass spectacles at the Palace Square involving 500 musicians and 8000 extras, such as "The Storming of the Winter Palace" staged by Vsevolod Meyerhold and Nikolai Yevreinov for the third anniversary of the Communist Revolution. In 1921 Tiomkin emigrated from Russia and moved to Berlin to join his father, who was working with the famous German biochemist Paul Ehrlich. In Berlin Tiomkin had several study sessions with Ferruccio Busoni and his circle. By 1922 Dimitri was well known for his concert appearances in Germany, often with the Berlin Philharmonic. Among his repertoire were pieces written for him by other composers. He also concertized in France. There, in Paris, Feodor Chaliapin Sr. convinced Tiomkin to emigrate to the United States. In 1925 Tiomkin got his first gig in New York: he became the main pianist for a Broadway dance studio. There he met and soon married the principal dancer/choreographer, Albertina Rasch. He also met composers George Gershwin, Richard Rodgers and Jerome Kern. In 1928 Tiomkin made a concert tour of Europe, introducing the works of Gershwin to audiences there. He gave the French premiere of Gershwin's "Piano Concerto in F" at the famed "L'Opera de Paris." His Hollywood debut came in 1929, when MGM offered him a contract to score music for five films. His wife got a position as an assistant choreographer for some musical films. He also scored a Universal Pictures film, performed concerts in New York City and continued composing ballet music for his wife's dance work. He also continued writing American popular music and songs. He received further Broadway exposure with the Shuberts and Florenz Ziegfeld Jr.. He produced his own play "Keeping Expenses Down," but it was a flop amidst the gloom of the Big Depression, and he once again returned to Hollywood in 1933. When he came back he was on his own. By that time Tiomkin was disillusioned with the intrigue and politics inside the Hollywood studio system. He already knew the true value of his musical talent, and chose to freelance with the studios rather than accepting a multi-picture contract. He became something of a crusader, pushing for better pay and residuals. His independent personality was reflected in his music and business life: he was never under a long-term studio contract. Though MGM was the first to be acquainted with his services, Tiomkin next turned to Paramount for Alice in Wonderland (1933), another fine example of making music that he liked. Hollywood's most prominent independent composer, Tiomkin, thanks to his free-agent status, negotiated contractual terms to his benefit, which in turn benefited other musicians. He aggressively sought music publishing rights and formed his own ASCAP music publishing company, Volta Music Corporation, while remaining faithful to France-based performing rights organization SACEM. In Tiomkin's own words: "My fight is for dignity. Not only for composer, but for all artists responsible for picture." He also fought for employing qualified musicians regardless of their race. As a composer classically trained at the St. Petersburg Conservatory, Tiomkin was highly skilled in orchestral arrangements with complex brass and strings, but he was also thoroughly versed in the musical subtleties of America and integrated it into traditional European forms. His interest in the musical form resulted in his next score, for the operetta Naughty Marietta (1935), a popular musical that teamed Jeanette MacDonald and Nelson Eddy. He also did his fair share of stock music arranging. Among his most successful partnerships was that with director Frank Capra, starting with Lost Horizon (1937), where Tiomkin used many innovative ideas, and received his first Academy Award nomination. The association with Capra lasted through four more famous films, culminating with It's a Wonderful Life (1946). In 1937 Tiomkin became a naturalized American citizen. The next year he made his public conducting debut with the Los Angeles Philharmonic. During the WWII years he wrote music for 12 military documentaries, earning himself a special decoration from the US Department of Defense. After the war he ventured into all styles of music for movies, ranging from mystery and horror to adventure and drama, such as his enchanting score, intricately worked around Claude Debussy's "Girl with the Flaxen Hair," for the haunting Portrait of Jennie (1948) and the energetic martial themes for Cyrano de Bergerac (1950). He scored three films for Alfred Hitchcock, perhaps the most inventive being for the tension-building Strangers on a Train (1951) with its out-of-control carousel finale. He also worked with top directors in that exclusively American genre: the western. His loudest success was the original music for Duel in the Sun (1946) by King Vidor. For that film, Tiomkin wrote a lush orchestral score, trying to fulfill writer/producer David O. Selznick's request to "Make a theme for orgasm!" Tiomkin worked for several weeks, and composed a powerful theme culminating with 40 drummers. Selsnick was impressed, but commented: "This is not orgasm!" Tiomkin worked for one more month and delivered an even more powerful theme culminating with 100 voices. Selznick was impressed again, but commented: "This is not orgasm! This is not the way I f..k!" Tiomkin replied brilliantly, "Mister Selznick, you may f..k the way you want, but this is the way I f..k!" Selznick was convinced, and after that Tiomkin's music was fully accepted. In 1948 he wrote the score for one of the westerns with John Wayne, Red River (1948) by Howard Hawks. Wayne had Tiomkin's touch on five more movies into the 1960s. Tiomkin was adding a song to all of his scores, starting with the obscure Trail to Mexico (1946). The result was successful, and the western score with songs became Tiomkin's signature. Horns and lush string orchestral sound are most associated with Tiomkin's style, which culminated in The Unforgiven (1960) by John Huston, although he used the same approach in High Noon (1952) with the famous song "Do Not Forsake Me, Oh My Darlin'" and Howard Hawks' The Big Sky (1952). Most of his big-screen songs were written for westerns and totaled some 25 themes. The most songs he composed for one movie was six for Friendly Persuasion (1956). Tiomkin achieved dramatic effects by using his signature orchestral arrangements in such famous films as Giant (1956), The Old Man and the Sea (1958) and The Guns of Navarone (1961). He also wrote music and theme songs for several TV series, most notably for Clint Eastwood's Rawhide (1959). In 1967 his beloved wife, Albertina Rasch, passed away, and Tiomkin was emotionally devastated. Going back from his wife's funeral to his Hancock Park home in Los Angeles, he was attacked and beaten by a street gang. The crime caused him more pain, so upon recommendation of his doctor, Tiomkin moved to Europe for the rest of his life. In the 1960s Tiomkin produced Mackenna's Gold (1969) starring Gregory Peck and Omar Sharif. He also executive-produced and orchestrated the US/Russian co-production Tchaikovsky (1970), for which he was nominated for an Academy Award for best music, and the movie was also nominated in the foreign language film category. Filming on locations in Russia allowed him to return to his homeland for the first time since 1921, which also was the last visit to his mother country. In 1972 Tiomkin married Olivia Cynthia Patch, a British aristocrat, and the couple settled in London. They also maintained a second home in Paris. For the rest of his life Tiomkin indulged himself in playing piano, a joy also shared by his wife. He died on November 11, 1979, in London, England, and was laid to rest in Forest Lawn Memorial Cemetery in Glendale, California. In 1999 Dimitri Tiomkin was pictured on one of six 33¢ USA commemorative postage stamps in the Legends of American Music series, honoring Hollywood Composers. His music remains popular, and is continuously used in many new films, such as Inglourious Basterds (2009) by director Quentin Tarantino.

Michel Legrand is a three-time Academy Award-winning French composer, conductor and pianist who composed over 200 film and television scores as well as recorded over a hundred albums of jazz, popular and classical music.

He was born on February 24, 1932, in Becon-les-Bruyeres, in the Paris suburbs, France. His father, Raymond Legrand, was a French composer and actor. His mother, Marcelle der Mikaelian, was descended from the Armenian bourgeousie. From 1942 - 1949 young Legrand studied piano at the Paris Conservatoire. There his teachers were Nadia Boulanger and Henri Challan among other renowned musicians. He received numerous awards for his skills in composition and piano and mastered a dozen other instruments. In 1947 he attended a concert by Dizzy Gillespie and caught a jazz bug. He started working as a pianist for major French singers. He eventually collaborated with Dizzy Gillespie on several albums and film scores.

In 1954 Legrand became an overnight star after his album "I Love Paris" became a hit, it went on selling over 8 million copies. He followed the success with such albums as "Holiday in Rome" (1955) and "Michel Legrand Plays Cole Porter" (1957). In 1958 he was invited to play at Moscow Festival of Students and Youth. There, in Moscow, he met his future wife, a young French model with who he went on to have three children.

In the late 1950s and 1960s Legrand was caught up in the French New Wave. He scored seven films for jean-Luc Godard, he also made ten films with Jacques Demy, and became responsible for creating the genre of musical in the French Cinema. In 1963 Legrand did The Umbrellas of Cherbourg (1964), the first film musical that was entirely sung. For that film score he received three Oscar nominations. His beautiful, haunting melody, "I Will Wait For You", received nomination for Best Original Song.

In 1966 Legrand decided to take his chances in Hollywood, and moved to Los Angeles with his wife and three children. His friendship with Quincy Jones and Hank Mancini helped him a great deal, especially in meeting the lyricists Alan and Marilyn Bergman. In 1969 Legrand won his first Oscar for Best Music, Original Song for "The Windmills of Your Mind" and was also nominated for Best Music, Original score for a Motion Picture for The Thomas Crown Affair (1968). Eventually Legrand went on to become a star in the US, he received twelve nominations for Academy Awards, and won two more Oscars. He was also nominated for a Grammy 27 times and received 5 Grammys in the 1970s.

In the 1980s and 1990s Legrand continued giving live concerts with his own jazz trio. He also led his big band which he took on several international tours, accompanying such stars as Ray Charles , Diana Ross , Björk , and Stéphane Grappelli who celebrated his 85th birthday in 1992. He also recorded several classical albums, including an album with cross-genre hits entitled "Kiri Sings Michel Legrand" with the opera singer Kiri te Kanawa. During the 2000s Legrand has been working mainly in the studio, and also made several international tours.

In 2005 a compilation of Legrand's best known film soundtracks was released under the title "Le Cinema de Michel Legrand", featuring 90 songs composed in the course of his career.

Alan Menken is an American composer, songwriter, music conductor, director and record producer.

Menken is best known for his scores and songs for films produced by Walt Disney Animation Studios. His scores and songs for The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), and Pocahontas (1995) have each won him two Academy Awards. He also composed the scores and songs for Little Shop of Horrors (1987), Newsies (1992), The Hunchback of Notre Dame (1996), Hercules (1997), Home on the Range (2004), Enchanted (2007), Tangled (2010), among others.

He is also known for his work in musical theatre for Broadway and elsewhere. Some of these are based on his Disney films, but other stage hits include Little Shop of Horrors (1982), A Christmas Carol (1994) and Sister Act (2009).

Menken has collaborated with such lyricists as Lynn Ahrens, Howard Ashman, Jack Feldman, Tim Rice, Glenn Slater, Stephen Schwartz and David Zippel. With eight Academy Award wins, Menken is the second most prolific Oscar winner in the music categories after Alfred Newman, who has 9 Oscars. He has also won 11 Grammy Awards, a Tony Award, Emmy Award, 7 Golden Globe Awards and many other honors.

As Danny Elfman was growing up in the Los Angeles area, he was largely unaware of his talent for composing. It wasn't until the early 1970s that Danny and his older brother Richard Elfman started a musical troupe while in Paris; the group "Mystic Knights of Oingo-Boingo" was created for Richard's directorial debut, Forbidden Zone (1980) (now considered a cult classic by Elfman fans). The group's name went through many incarnations over the years, beginning with "The Mystic Knights of the Oingo Boingo" and eventually just Oingo Boingo. While continuing to compose eclectic, intelligent rock music for his L.A.-based band (some of which had been used in various film soundtracks, e.g. Weird Science (1985)), Danny formed a friendship with young director Tim Burton, who was then a fan of Oingo Boingo. Danny went on to score the soundtrack of Pee-wee's Big Adventure (1985), Danny's first orchestral film score. The Elfman-Burton partnership continued (most notably through the hugely-successful "Batman" flicks) and opened doors of opportunity for Danny, who has been referred to as "Hollywood's hottest film composer".

Angelo Badalamenti was born on 22 March 1937 in Brooklyn, New York City, New York, USA. He was a composer and actor, known for Mulholland Drive (2001), Twin Peaks: Fire Walk with Me (1992) and Lost Highway (1997). He was married to Lonny Irgens. He died on 11 December 2022 in Lincoln Park, New Jersey, USA.

Of Scottish and German ancestry, Herbert Stothart was born in Milwaukee, Wisconsin, in 1885. At first, he was slated for a career as a teacher of history. However, he became enamored with music while singing in a school choir, and again, later, while attending the University of Wisconsin. There, he composed and conducted musicals for the Haresfoot Dramatic Club (the actor Otis Skinner was a noted alumnus). The success of one of these amateur productions, "Manicure Shop", which was staged professionally in Chicago, led to further musical studies in Europe, followed by full-time work as a composer for vaudeville and musical theatre.

In 1914, Stothart was hired by legendary lyricist Oscar Hammerstein II as musical director for the Rudolf Friml operetta "High Jinks". After three years on the road with various shows, Stothart scored his first Broadway musical, the farce "Furs and Frills", in October 1917. During the next decade, he continued a string of successful collaborations with top-flight composers, lyricists and playwrights, including Otto A. Harbach and Vincent Youmans. After 1922, Stothart's own original compositions began to be featured, and, within two years, he was able to celebrate his first major hit with the musical "Rose-Marie". "Rose-Marie" was written in conjunction with Rudolf Friml and ran for an impressive 557 performances at the Imperial Theatre. Stothart followed this success with the opera/ballet "Song of the Flame", co-written with George Gershwin. In 1929, the success of 'talking pictures', combined with the popularity of musicals, prompted studio boss Louis B. Mayer to lure Stothart to Hollywood.

Within just a few years, Stothart established himself as MGM's foremost film composer, working exclusively on the studio's prestige output. Many of his scores were for productions derived from literary classics, such as Mutiny on the Bounty (1935), The Good Earth (1937) and Pride and Prejudice (1940). Stothart's preferred musical style was subtle and melodic, sometimes mournful, often prominently featuring violins. He was prone to use leitmotifs from classical composers, for example in A Tale of Two Cities (1935) and The Picture of Dorian Gray (1945) (Chopin), or Conquest (1937) and Waterloo Bridge (1940) (Tchaikovsky). In his dual capacity as musical director, Stothart also supervised or orchestrated almost all of the popular Nelson Eddy-Jeanette MacDonald operettas. He composed a number of songs, one of the best-known being the 'Donkey Serenade', sung by Allan Jones in The Firefly (1937). Most importantly, perhaps, he became the first composer at MGM to win an Academy Award for a musical score for The Wizard of Oz (1939).

Herbert Stothart spent his entire Hollywood career at MGM. In 1947, he suffered a heart attack while visiting Scotland, and, afterwards, composed an orchestral piece ('Heart Attack: A Symphonic Poem'), based on his tribulations. He worked on another ('The Voice of Liberation'), when he died two years later at the age of 63 from cancer of the spine. He is an inductee in the Songwriters Hall of Fame.

Franz Waxman (Wachsmann) pursued his dream of a career in music despite his family's misgivings. He worked for several years as a bank teller and paid for piano, harmony and composition lessons with his salary. He later moved to Berlin, where he continued his study and progress as a musician. He was able to support himself by playing and arranging for a popular German jazz band, Weintraub Syncopaters, in the late 1920s. Friedrich Hollaender, who had written some music for the Weintraubs, gave Waxman his first chance to move into movie scoring by hiring him to orchestrate and conduct Hollander's score (an arrangement of Wolfgang Amadeus Mozart) for the film that launched Marlene Dietrich, The Blue Angel (1930), directed by Josef von Sternberg. During 1932 Waxman, a Jew, joined many other Jews leaving Germany as the Nazi vise closed irrevocably on free society. He continued working with Germanfilm makers in France. Waxman did musical arranging and co-scoring, usually with Allan Gray, for approximately 15 European movies (his first independent score was in 1932). "The Blue Angel" producer Erich Pommer liked Waxman's work and offered him the composing job for Liliom (1934), directed by Fritz Lang in France.

Pommer decided to do Music in the Air (1934), a Jerome Kern musical, which meant going to Hollywood. Waxman was asked to come along to do the arranging. Needing no further reason to remain in Europe as the Nazi clouds darkened over it, Waxman began a new chapter in Hollywood film music history. He fortunately had some spare time to study with 'Arnold Schoenberg' after coming to Los Angeles, but he was soon talking to another new arrival, English director James Whale, about scoring Bride of Frankenstein (1935) for Universal. Waxman gave Whale what he wanted--an unusual score to fit the quirky, somewhat over-the-top content of the film (in fact, some of this score was later used in other films). As Waxman worked for Universal through the 1930s, he found himself in assembly-line mode, sometimes sharing scoring credit, and doing a lot of arranging stock music, which was usually used for the studio's many serials. This cranked up Waxman's yearly film output to around 20 or so through 1940.

By 1940, however, he was composing original music scores for other studios, beginning with the romantic music for Selznick Studios' Rebecca (1940)--the first Hollywood film for Alfred Hitchcock--and whimsical fare for MGM's The Philadelphia Story (1940). In 1941 he was doing more work for MGM with Honky Tonk (1941) and his second Hitchcock score, Suspicion (1941) from RKO. By 1943 and for the rest of the decade Waxman was usually scoring for Warner Bros., starting with Destination Tokyo (1943) and including music for some of that studio's classics of the period, such as To Have and Have Not (1944) with Humphrey Bogart. Through the decade he was nominated for an Oscar seven times for Best Film Score.

Waxman moved on to Paramount through the first half of the 1950s and garnered his two Oscars in back--to-back wins for Sunset Boulevard (1950) and A Place in the Sun (1951). This recognition finally underscored what was at the heart of all of Waxman's music: seriously focused attention on relaying a film's story through the content of the music. He would continue his scoring work for several studios into the 1960s, with three more nominations. Some of his music in the 1950s was recycled from his previous scores, as in the case of his third assignment for Hitchcock, Rear Window (1954) which contained used music. Waxman was also active in contemporary classical music. In 1947 he founded the Los Angeles International Music Festival and, as Music Director and Conductor, brought the premieres of works by world renowned contemporary composers to the Los Angeles cultural scene. Among his own output of such music was his popular "Carmen Fantasy" for violin and orchestra. Waxman also composed for TV's Gunsmoke (1955), The Fugitive (1963), Peyton Place (1964) (he had composed the music for the film the series was based on, Peyton Place (1957)) and others. Waxman died relatively young, but because of his steady output, only fellow emigrant Max Steiner (who was nearly 20 years older and whose output entailed more than 300 original scores) was a more prolific early Hollywood composer.

James Horner began studying piano at the age of five, and trained at the Royal College of Music in London, England, before moving to California in the 1970s. After receiving a bachelor's degree in music at USC, he would go on to earn his master's degree at UCLA and teach music theory there. He later completed his Ph.D. in Music Composition and Theory at UCLA. Horner began scoring student films for the American Film Institute in the late 1970s, which paved the way for scoring assignments on a number of small-scale films. His first large, high-profile project was composing music for Star Trek II: The Wrath of Khan (1982), which would lead to numerous other film offers and opportunities to work with world-class performers such as the London Symphony Orchestra. With over 75 projects to his name, and work with people such as George Lucas, Steven Spielberg, James Cameron, Oliver Stone, and Ron Howard, Horner firmly established himself as a strong voice in the world of film scoring. In addition, Horner composed a classical concert piece in the 1980s, called "Spectral Shimmers", which was world premiered by the Indianapolis Symphony Orchestra. Horner passed away in a plane crash on June 22, 2015, two months short of his 62nd birthday.

Born in Baltimore, Maryland, Glass worked in his father's radio store and discovered music listening to the offbeat Western classical records customers didn't seem to want. He studied the violin and flute, and obtained early admission to the University of Chicago. After graduating in mathematics and philosophy, he went to New York's Juilliard school, drove a cab, and studied composition with Darius Milhaud and others.

At 23, he moved to Paris to study under the legendary Nadia Boulanger, who taught almost all of the major Western classical composers of the 20th century. While there, he discovered Indian classical music while transcribing the works of Ravi Shankar into Western musical notation for a French filmmaker. A creative turning point, Glass researched non-Western music in India and parts of Africa, and applied the techniques to his own composition.

Back in the United States, Glass spent the late 1960s and early 1970s driving a taxi cab in New York and creating a major collection of new music. In 1976, his landmark opera "Einstein on the Beach" was staged by Robert Wilson to a baffling variety of reviews. His compositions were so avant-garde that he had to form the Philip Glass Ensemble to give them a venue for performance. Although called a minimalist by the Western classical mainstream, he denies this categorization. His major works include opera, theater pieces, dance, and song.

His work in film, beginning with Koyaanisqatsi (1982), gave filmmakers such as Godfrey Reggio and Errol Morris a new venue of expression through the documentary form. His many recordings have also widened his audience. He was commissioned by the Metropolitan Opera to compose "The Voyage" for the Columbus quinquacentennial in 1992. In 1996, he composed original music for the Atlanta Olympic Games, which, perhaps, made Glass almost mainstream. Glass remains one of the most important American composers. His music is distinctive, haunting, and evocative. Either performed by itself or in collaboration with other media, his compositions move the listener to unexplored places. More recently, a major reexamination of Glass's oeuvre has led him to be labeled the Last Romantic by the musical press.

Violinist and conductor Victor Young was a prolific composer and arranger, who worked on more than 300 film scores over a period of twenty years. He came from an impoverished, but musical background and was trained on the violin at the Warsaw Imperial Conservatory, later studying piano in Paris under the French master Isidor Philipp. A prodigious talent, Young made his professional debut as a teenager with the Warsaw Philharmonic. However, World War I intervened, and he spent several months interned in a prison facility in Russia. Somehow, he was able to escape. By 1920, he had found his way to the United States and resumed work as a violinist with the Central Park Casino Orchestra in Chicago. He also diversified as an arranger and conductor for radio and the theatre. His first connection with the film industry came about, when he secured a position as assistant director with the Balaban and Katz cinema chain, writing and arranging as many as five (silent) film scores a week.

During the late 1920's, Young was back as musical director for 'Harvest of Stars' on radio, and as a talent scout for Edison Records. He briefly arranged for bandleader Ted Fio Rito before fronting his own orchestra in 1935, backed by a recording deal with Decca. He worked with many of the great vocalists of the period, including Judy Garland, Lee Wiley and The Boswell Sisters. His high profile brought him to the attention of Paramount, where he was signed to a one-year contract in 1936. He worked for the studio again between 1940 and 1949, but, by that time, his reputation had become so formidable that he came to be regarded as the pre-eminent film composer, and assigned the lion's share of A-grade features. His music subtly and seamlessly integrated into dramas like Reap the Wild Wind (1942), For Whom the Bell Tolls (1943), So Evil My Love (1948), John Ford's The Quiet Man (1952) and the western classic Shane (1953).

Young also wrote countless evergreen songs, many for top-flight singers, like Bing Crosby. His first big hit was "Sweet Sue" (popularly recorded by Tommy Dorsey & His Orchestra), followed by the melodic jazz standard "Stella by Starlight" (which served as the theme for The Uninvited (1944)) and the ballad "When I Fall in Love" (a huge hit for Nat 'King' Cole, who featured the song in the movie Istanbul (1957)). For Broadway, Young wrote both music and lyrics for "Seventh Heaven", in 1955. Nominated for a staggering 22 Academy Awards, Young had his only win (for Around the World in 80 Days (1956)), rather sadly, after his sudden death from a stroke at the age of 56. It has been suggested, that his film compositions, while polished, lacked the élan or authoritative stamp of a Max Steiner or a Bernard Herrmann. Nonetheless, the sheer volume and enduring popularity of Young's music ensure his immortality among the ranks of the great songwriters and film composers of the 20th century.

Oliver Wallace was born on 6 August 1887 in London, England, UK. He was a composer and actor, known for Dumbo (1941), Alice in Wonderland (1951) and Cinderella (1950). He was married to Claire Burch Wallace. He died on 15 September 1963 in Los Angeles, California, USA.

Michael Giacchino is an American composer of music for films, television and video games.

Giacchino composed the scores to the television series Lost, Alias and Fringe, the video game series Medal of Honor and Call of Duty and many films such as The Incredibles (2004), Star Trek (2009), Up (2009), Dawn of the Planet of the Apes (2014), Jurassic World (2015), Inside Out (2015), Spider-Man: Homecoming (2017), War for the Planet of the Apes (2017) and Coco (2017).

For his work on Up he earned an Academy Award for Best Original Score.

Nicola Piovani was born on 26 May 1946 in Rome, Lazio, Italy. He is a composer and actor, known for Life Is Beautiful (1997), The Tiger and the Snow (2005) and Ginger & Fred (1986).

Joe Hisaishi was born on 6 December 1950 in Nakano, Japan. He is a composer and director, known for Spirited Away (2001), The Boy and the Heron (2023) and Fireworks (1997). He is married to Ayame Fujisawa . They have one child.

Georges Delerue was born on 12 March 1925 in Roubaix, Nord, France. He was a composer and actor, known for Platoon (1986), Twins (1988) and The Day of the Dolphin (1973). He was married to Colette Landoz and Micheline Gautron. He died on 20 March 1992 in Burbank, California, USA.

James Newton Howard attended the University of Southern California's music school, but dropped out to tour with Elton John, and eventually compose music for film and television. He started with Head Office (1985) in 1985. He has been nominated for eight Academy Awards. He currently is a songwriter, record producer, conductor, keyboardist, and film composer.

Paul J. Smith was the son of Joseph J. and Anna M. Smith of Caldwell, Idaho. Joseph J. Smith was the band director at the College of Idaho for many years and was penned by Idaho's former governor Robert Smylie as "The Father of Music" in the Boise Valley, as he taught all musical instruments.

My grandfathers talent and teaching skills was obviously passed on to his four son's, as all but one of them became well know and sought after composers and musicians in Los Angeles both before and after WWII. Paul J. Smith had one older brother, Jerome Smith, who although a talented woodwind player, became an electrical engineer in the 30's and worked for RCA as a lead engineer for his entire career. Paul J. Smith also had two younger brothers, Arthur Smith, a woodwind player and studio musician who was under contract with Universal Studios for many years before studio contracts were eliminated in the early 60's, after which he continued to work in all major studios (including Disney), and continued to be very active in the music business for many years to come. Paul J. Smith's youngest brother was George W. Smith, who was also a woodwind player, and was employed for many years as 1st chair clarinet for Columbia Studios, once again, until musicians contracts were cancelled in the 60's, at which point he continued to work in both the major studios (including Disney), as well as recording sessions with major vocal talents and jazz artists of the day. During the later years of his career, George performed with the Disneyland Band in Anaheim, being featured in the Dixieland Band and the Polka Band on clarinet and the Main Street Saxophone Quartet on Alto.

Overall, and impressive an unique accomplishment for the three musical talents from Caldwell Idaho.

Considered to be one of the most pivotal stars of the early days of Hollywood, Charlie Chaplin lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular character, the Little Tramp; the man with the toothbrush mustache, bowler hat, bamboo cane, and a funny walk.

Charles Spencer Chaplin was born in Walworth, London, England on April 16, 1889, to Hannah Harriet Pedlingham (Hill) and Charles Chaplin, both music hall performers, who were married on June 22, 1885. After Charles Sr. separated from Hannah to perform in New York City, Hannah then tried to resurrect her stage career. Unfortunately, her singing voice had a tendency to break at unexpected moments. When this happened, the stage manager spotted young Charlie standing in the wings and led him on stage, where five-year-old Charlie began to sing a popular tune. Charlie and his half-brother, Syd Chaplin spent their lives in and out of charity homes and workhouses between their mother's bouts of insanity. Hannah was committed to Cane Hill Asylum in May 1903 and lived there until 1921, when Chaplin moved her to California.

Chaplin began his official acting career at the age of eight, touring with the Eight Lancashire Lads. At age 18, he began touring with Fred Karno's vaudeville troupe, joining them on the troupe's 1910 United States tour. He traveled west to California in December 1913 and signed on with Keystone Studios' popular comedy director Mack Sennett, who had seen Chaplin perform on stage in New York. Charlie soon wrote his brother Syd, asking him to become his manager. While at Keystone, Chaplin appeared in and directed 35 films, starring as the Little Tramp in nearly all.

In November 1914, he left Keystone and signed on at Essanay, where he made 15 films. In 1916, he signed on at Mutual and made 12 films. In June 1917, Chaplin signed up with First National Studios, after which he built Chaplin Studios. In 1919, he and Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists (UA).

Chaplin's life and career was full of scandal and controversy. His first big scandal was during World War I, at which time his loyalty to England, his home country, was questioned. He had never applied for American citizenship, but claimed that he was a "paying visitor" to the United States. Many British citizens called Chaplin a coward and a slacker. This and other career eccentricities sparked suspicion with FBI chief J. Edgar Hoover and the House Un-American Activities Committee (HUAC), who believed that he was injecting Communist propaganda into his films. Chaplin's later film The Great Dictator (1940), which was his first "talkie", also created a stir. In the film, Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, the film grossed over $5 million and earned five Academy Award Nominations.

Another scandal occurred when Chaplin briefly dated 22 year-old Joan Barry. However, Chaplin's relationship with Barry came to an end in 1942, after a series of harassing actions from her. In May 1943, Barry returned to inform Chaplin that she was pregnant and filed a paternity suit, claiming that the unborn child was his. During the 1944 trial, blood tests proved that Chaplin was not the father, but at the time, blood tests were inadmissible evidence, and he was ordered to pay $75 a week until the child turned 21.

Chaplin also was scrutinized for his support in aiding the Russian struggle against the invading Nazis during World War II, and the United States government questioned his moral and political views, suspecting him of having Communist ties. For this reason, HUAC subpoenaed him in 1947. However, HUAC finally decided that it was no longer necessary for him to appear for testimony. Conversely, when Chaplin and his family traveled to London for the premier of Limelight (1952), he was denied re-entry to the United States. In reality, the government had almost no evidence to prove that he was a threat to national security. Instead, he and his wife decided to settle in Switzerland.

Chaplin was married four times and had a total of 11 children. In 1918, he married Mildred Harris and they had a son together, Norman Spencer Chaplin, who lived only three days. Chaplin and Harris divorced in 1920. He married Lita Grey in 1924, who had two sons, Charles Chaplin Jr. and Sydney Chaplin. They were divorced in 1927. In 1936, Chaplin married Paulette Goddard, and his final marriage was to Oona O'Neill (Oona Chaplin), daughter of playwright Eugene O'Neill in 1943. Oona gave birth to eight children: Geraldine Chaplin, Michael Chaplin, Josephine Chaplin, Victoria Chaplin, Eugene Chaplin, Jane Chaplin, Annette-Emilie Chaplin, and Christopher Chaplin.

In contrast to many of his boisterous characters, Chaplin was a quiet man who kept to himself a great deal. He also had an "un-millionaire" way of living. Even after he had accumulated millions, he continued to live in shabby accommodations. In 1921, Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1972, he was honored with an Academy Award for his "incalculable effect in making motion pictures the art form of the century". He was appointed Knight Commander of the Order of the British Empire in the 1975 New Year's Honours List. No formal reason for the honour was listed. The citation simply reads "Charles Spencer Chaplin, Film Actor and Producer".

Chaplin's other works included musical scores that he composed for many of his films. He also authored two autobiographical books, "My Autobiography" (1964) and its companion volume, "My Life in Pictures" (1974).

Chaplin died at age 88 of natural causes on December 25, 1977 at his home in Vevey, Switzerland. His funeral was a small and private Anglican ceremony according to his wishes. In 1978, Chaplin's corpse was stolen from its grave and was not recovered for three months; he was re-buried in a vault surrounded by cement.

Six of Chaplin's films have been selected for preservation in the National Film Registry by the United States Library of Congress: The Immigrant (1917), The Kid (1921), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940).

Charlie Chaplin is considered one of the greatest filmmakers in the history of American cinema, whose movies were and still are popular throughout the world and have even gained notoriety as time progresses. His films show, through the Little Tramp's positive outlook on life in a world full of chaos, that the human spirit has and always will remain the same.

Born in Poland in 1955, Zbigniew Preisner studied philosophy and history in the university of Cracow. In his twenties he started to study music in a autodidactical way: buying records and learning to write by taking the music in parts. He started to write his own compositions. His style has always been very romantic, influenced by romantic polish composers from the XIX century and others like Paganini or Sibelius. He has always emphasized the importance of melody in music. He doesn't like experimental modern music.

In 1981 he began his collaboration with filmmakers. While he was working with Antoni Krauze's movie "Weather Report" he met director Krzystof Kieslowski who invited him to work in his new movie "No End" about Poland under the martial law at the beginning of the 80s.

With that movie he began a very close collaboration with Kieslowski and his screenwriter Krzystof Piesiewicz. He works while the script for the movie is still being written but he usually also takes part in the editing of the movie.

Their next collaboration became a success worldwide. "Decalogue" won the European film award for best film and also awards in Cannes and other festivals. Kieslowski became one of the most importants directors in Europe and Preisner the leading film music composer of his generation.

At the same time he continued his collaboration with Kieslowski in such films like "La double vie de Veronique" and the trilogy of colours ("Blue", "White" and "Red") he also wrote soundtracks for others important directors like Louis Malle, Agniezka Holland or Héctor Babenco.

His collaboration with Kieslowski ended with his death in 1996. In the last years Preisner not only has continued his collaboration in others movies but he also has been involved in others musical projects like the writing of an opera to be performed in London and features for the Varsovia Simphony orchestra.

Erich Wolfgang Korngold was the son of a well-known music critic. A child prodigy, he accompanied his father in playing four-handed piano arrangements by the age of five. By the age of eleven he drew his first plaudits from enthusiastic Viennese audiences (including the emperor Franz Josef) with his ballet-pantomime "Der Schneeman" (The Snow Man). Two years later, he wrote a piano sonata which was performed by Artur Schnabel. Korngold composed his first orchestral piece at 14 and attracted the attention of Richard Strauss, Gustav Mahler and many other prominent composers and conductors. In 1920, he conducted the Hamburg Opera performing his seminal work "Die tote Stadt" which became a huge international success. Thus embarked upon a promising career as a serious composer, Korngold was invited to the United States by Max Reinhardt to score A Midsummer Night's Dream (1935) -- and decided to stay. He was certainly grateful for the chance to escape Adolf Hitler's annexation of Austria. In 1943, Korngold became an American citizen.

Korngold was the first composer of international renown to be signed by Hollywood despite having no prior experience with film music. His approach to the medium was predominantly theatrical and operatic (he once described Tosca as "the best film score ever written"). A master of technique, credited with "inventing" the syntax of orchestral film music, he composed at the piano with projectionists running reels at his behest. Often, he worked in conjunction with the orchestra of Hugo Friedhofer who became his closest collaborator. Under contract to Warner Brothers from 1935 to 1947, Korngold picked up Academy Awards for Anthony Adverse (1936) and The Adventures of Robin Hood (1938). His stirring and string-laden scores were ideally suited for such high-octane Errol Flynn swashbucklers as Captain Blood (1935) and The Sea Hawk (1940). In the final analysis, other notable film composers, including even the great Max Steiner, admitted to being influenced by Korngold's work. His 1937 violin concerto which used various elements from his film music became one of the most prolifically performed classical concerts of the 20th century.

Korngold would have longed to resume his career as a serious composer. However, after the war ended, he found that the world of serious music had passed him by. In 1949, he returned to Vienna with his wife but found the city in ruins and much changed. A year later, disillusioned, he moved back to his home in the Toluca Lake district in North Hollywood. During the final ten years of his life he composed almost exclusively for concert halls. In 1956, he suffered a stroke which left him partially paralysed and he died a year later at the age of 60 from a heart attack.

Trent Reznor is an American songwriter/musician/producer and sole member of multi-platinum act Nine Inch Nails, and now an Academy Award, Emmy and Grammy Award winning film composer. He began creating music as a child in Western Pennsylvania, first on piano and then taking up other instruments. He eventually moved to Cleveland, OH where he took a job at a local recording studio as an assistant engineer/janitor, recording his own material during unused studio time.

Those recordings became the first Nine Inch Nails album, 1989's Pretty Hate Machine. NIN soon developed a reputation as one of the best live acts in rock and joined the inaugural Lollapalooza tour in 1991. The Broken EP followed in 1992, garnering NIN's first Grammy Award (NIN has received twelve Grammy nominations and won two awards). In 1994, the breakthrough album The Downward Spiral was released and featured the radio hits "Closer" and "Hurt." The controversial music video for "Closer" was directed by Mark Romanek and is considered among the best music videos of all time having won various awards (it is one of the few music videos included in the permanent collection of the Museum of Modern Art in New York City). NIN's mud-covered appearance that Summer at Woodstock 1994 is now legendary. Also released that year was the Reznor produced soundtrack to Oliver Stone's Natural Born Killers (1994). He returned to film 3 years later, producing the soundtrack for David Lynch's Lost Highway (1997). In 1997, Reznor appeared on Time magazine's most influential people list, and Spin magazine named him "the most vital artist in music."

Five years later NIN's next album, The Fragile, was released - the double album debuted at number one. In 2002, "Hurt" was covered by Johnny Cash to critical acclaim; it was one of Cash's final hit releases before his death. NIN's next album, With Teeth, also reached number one in 2005 as did the single "The Hand That Feeds." Reznor broke new ground by posting the single's source tracks as a free download for fans to edit/remix/sample as they pleased and creating an online community for fans to share their creations. David Fincher directed the video for "Only," With Teeth's second single.

The concept album Year Zero was released in 2007 alongside an accompanying ARG (alternate reality game). Conceived by Trent Reznor and assisted in execution by 42 Entertainment, the ARG progressed through the album release and beyond, featuring no less than 29 websites, hidden messages within NIN merchandise, recordings and bar codes, hot lines, flier and poster campaigns, and even resistance cell "meetings" organized via calls made to pre-paid cell phones distributed to participants. Within two months, the ARG amassed 2.5 million cumulative site visits, 7.5 million cumulative page views and 2 million phone calls. Reznor has developed Year Zero into an HBO/BBC mini-series.

In 2008, free of contractual obligations, NIN released Ghosts I-IV, a 36-track instrumental album, NIN's first independent release. Soon after, a new studio album, The Slip, was released as a free digital download alongside a simple message: "Thank you for your continued and loyal support over the years - this one's on me" - TR (In less than a year, it exceeded 1.8M downloads). Ghosts I-IV and The Slip were both released under Creative Commons licenses allowing extensive use of the material within independent film projects. Following these two releases, NIN embarked on the acclaimed Lights In The Sky Tour featuring groundbreaking production effects, layering and programming that allowed the performers to interact and control aspects of the show's visuals. The tour was recognized by the industry as one of the top-ten most creative tours of all time.

Over the course of his career, Reznor has also collected countless production and remix credits including collaborations with David Bowie, producing Saul Williams and the discovery and production of Marilyn Manson.

In 2010, Reznor composed his first film score; for David Fincher's masterwork The Social Network (2010). The score won the Academy Award for best score and the Golden Globe Award for Best Original Score. Additionally, he received a Critics' Choice Movie Award and a Los Angeles Film Critics Association Award for best score. He also scored Fincher's next film, the highly anticipated The Girl with the Dragon Tattoo (2011).

In addition to his continued work in Nine Inch Nails, Reznor is recording new music as a member of the group How to Destroy Angels.

Jonny Greenwood was born on 5 November 1971 in Oxford, Oxfordshire, England, UK. He is a composer and actor, known for The Master (2012), There Will Be Blood (2007) and Phantom Thread (2017). He has been married to Sharona Katan since 1995. They have three children.

Dario Marianelli was born in Pisa and studied piano and composition in Florence and London. After a year as a postgraduate composer at the Guildhall School of Music and Drama, he spent 3 years at the National Film and Television School, from which he graduated in 1997. Dario's film scores include 'Paddington 2' (2017), 'Darkest Hour' (2017), 'Kubo and the 'Two Strings' (2016) Everest (2015), 'The Boxtrolls' (2014), 'Anna Karenina' (2012), 'Jane Eyre' (2011), 'Salmon Fishing In The Yemen' (2011), 'Eat Pray Love' (2010), 'The Soloist' (2009), 'Agora' (2009), 'Atonement' (2007), 'V for Vendetta' (2006) and 'Pride and Prejudice' (2005). He has written orchestral music for the Queensland Symphony Orchestra, BBC Symphony Orchestra, London Philharmonic Orchestra, London Symphony Orchestra and the Britten-Pears Orchestra, as well as vocal music for the BBC Singers, incidental music for the Royal Shakespeare Company, and several ballet scores. Dario won the Oscar, Golden Globe and Ivor Novello Award in the Best Original Score category for the award-winning Working Title film 'Atonement', for which he also won the World Soundtrack Award and was BAFTA nominated. He was also nominated for a Classical Brit Award in the Soundtrack Of The Year category for 'Atonement'. In 2006, Dario was nominated for an Oscar in the Best Original Score category for his music to Joe Wright's 'Pride & Prejudice'. This score won him the Classical Brit Award in the Soundtrack/ Musical Theatre Composer of The Year category and also earned him an Ivor Novello Award nomination. Dario's collaboration with Joe Wright on the film 'Anna Karenina' led to his nomination for an Academy Award, BAFTA and Golden Globe for Best Original Score, and in May 2013, he won the Ivor Novello Award for Best Original Film Score for 'Anna Karenina'. In 2014 Dario composed the score for Laika animation 'The Boxtrolls', which was nominated for an Ivor Novello Award. He has recently completed work on the score to his second Laika animation, 'Kubo and the Two Strings', for which he won an Ivor Novello Award, and also worked on his fifth film collaboration with director Asif Kapadia on live action feature 'Ali and Nino'.

During 2014 Dario's 'Voyager' Violin Concerto also had its world premiere in Brisbane, Australia, performed by the Queensland Symphony Orchestra as part of a spectacular event combining science, music, voice, and film titled 'Journey Through The Cosmos'. The piece was featured alongside a lecture given by Professor Brian Cox and has since gone on to be performed by the Swedish Radio Symphony Orchestra, conducted by Daniel Harding and featuring highly acclaimed violinist Jack Liebeck.

In 2017, Dario continued his working relationship with Joe Wright on 'Darkest Hour' and also scoring Paul King's 'Paddington 2'. Dario was commissioned by The Royal Opera House to compose their new ballet, 'The Unknown Soldier', which premiered in November 2018. He also worked with Travis Knight, composing the score for the latest film in the Transformers film series, 'Bumblebee.' Dario collaborated with Matteo Garrone to score the Italian feature film 'Pinocchio'. Most recently Dario composed the original score for 'A Boy Called Christmas', directed by Gil Kenan, which was released in late 2021.

Ravi Shankar was a world-renowned musician, composer, performer, and scholar of classical Indian music. He was one of the leading cultural figures of the twentieth century whose accomplishments placed him as the leading figure of an important musical tradition. His long and distinguished musical career included numerous recordings, performances at all the world's leading venues, and a series of unprecedented collaborations with other leading musicians. Although he is well known because of his interaction with the popular music world, it is important to underscore that Shankar is considered the leading international figure in a very elevated art form, Hindustani music. Shankar was born on April 7, 1920, in Varanasi, India. He moved to Paris in 1930, and received most of his education there. From the age of 12, he performed as a musician and dancer on tour in Europe and America with his brother Uday Shankar, and in 1939 had his first concert as soloist at a music conference in Allahabad. By 1945 Shankar's reputation as the leading performer of traditional Hindustani music on the sitar had coalesced. He began to branch out as a composer, writing music for ballet and for important films such as such as Dharti Ke Lal and Neecha Nagar. He also composed the song Sare Jahan Se Accha, which is one of the most widely known piece of music in India. In 1949, Shankar became Music Director of All-India Radio at Delhi, and founded the Vadya Vrinda Chamber Orchestra. During the years 1950-55 Shankar composed some of his most famous music, most notably in the internationally-acclaimed film studios of Calcutta, where he scored The Ray Triology. For his outstanding contribution to Indian music and culture, he received his first of five Presidential Awards in 1962, India's highest honor in the arts. In the mid-1960s, his preeminence as one of the world's leading serious musicians was augmented with wide popular success. George Harrison of The Beatles developed a deep, abiding interest in Hindustani music, and began to study with Shankar. One influence of this study can be heard in his song Within You, Without You. Shankar died in San Diego, California in 2012 at the age of 92.

Hugo Friedhofer -- how many times have you seen that name in the credits of 1930s and '40s movies for "orchestration" or "musical arranger" and thought -- Gee, what a busy guy! He was, and, ironically, much of that work went uncredited. He is not usually mentioned with the great film composers of early Hollywood, but he was very much an equal and as prolific once he received the opportunities to compose as well. Friedhofer began studying the cello at age 13. In 1917, he dropped out of high school in support of a teacher who had been fired for radical and anti-war beliefs. He worked as a cellist for the People's Symphony Orchestra in San Francisco (always a liberal kind of place). He married quite young at 19 and had a child by the age of 22. He quickly put his music expertise to a working life by playing in theater orchestras and accompanying silent films and stage shows between features. He also started writing arrangements of music and worked at the Granada Theater (became the Paramount in 1931), with the opportunity to write some incidental music.

Friedhofer came to Los Angeles in the later 1920s and became a friend of the violinist George Lipschultz, who just happened to be the musical director at Twentieth Century Fox. It was 1929, and Lipschultz asked him to fill in a musician spot for film music recording at a small studio. That was the beginning of Friedhofer's career in films. When this small studio was taken over by Fox, he and other musicians were on the street. But he was brought to the notice of Erich Korngold, a relatively new film composer at Warner Bros. where Max Steiner was king. Friedhofer was hired by Warner Bros soon after to arrange scores for musicals and orchestrate scores-mostly for these two composers. Including orchestrating all of Korngold's movie scores and fifty of Steiner's, Friedhofer would orchestrate or musically direct 105 films into the mid 1950s during his career.

But he was already doing significant film composing as well from 1930 along with incidental and stock music for several studios before his stay at Warner. Friedhofer's developing style was in the romantic vein of his contemporaries. He studied composition with Ernst Toch after aiding the composer with contributions to Peter Ibbetson (1935) at Paramount. With the move to Warner, Friedhofer's problem became being just too valuable as an orchestrator and musical director for Warner to free him for composing assignments until the late 1930s. With tight budgets and the need for musical managers to wear several hats, Friedhofer's legendary efficiency was hard to give up. His first full film score was for Samuel Goldwyn's The Adventures of Marco Polo (1938) after being recommended by another film composer great Alfred Newman. His first for Warner's was The Oklahoma Kid (1939) (with James Cagney debuting as a cowboy!). He did not get credit for this nor for The Mark of Zorro (1940) (co-work with Newman) and Santa Fe Trail (1940) both in 1940. Into and after the war years Friedhofer was very busy -- but still not getting the composing credit due -- as for Gilda (1946). All told, he was not credited as composer for some 120 films.

Friedhofer broke from the confines of Warner Bros. finally in 1946 to freelance and received the grand prize right off. Again, it was Newman who recommended him for scoring Goldwyn's wonderful post-war drama of adjustment The Best Years of Our Lives (1946), and Friedhofer showed his power as composer with a score that engaged the story at every turn and most deservedly won the Oscar for Best Score. Other memorable credited scores included such classics as: the gripping music for Lifeboat (1944), directed by Alfred Hitchcock; the delightful Christmas strings score of The Bishop's Wife (1947); and the soaring music for 'Ingrid Bergman' in Joan of Arc (1948).

Though he continued in demand, much of Friedhofer's scoring output through the 1950s went to films mostly relegated to Saturday mornings these days, but there were notables, as the 1957 duo An Affair to Remember (1957) and the well-received The Sun Also Rises (1957). And the next year came the engaging and thought-provoking The Barbarian and the Geisha (1958) (a fine performance by John Wayne) under the always versatile direction of John Huston. He also did some TV episodic and mini-movie music through the 1960s in addition to more films.

Friedhofer had all the qualities of an accomplished, indeed, incisive and intuitive film composer -- proved with a total of eight Oscar nominations -- and yet he was his own worst enemy. Anxieties about his abilities brought self-criticism and doubts that boiled out in a misanthropic view of the world in general that no amount of praise from public or friends could dislodge. At the least he should have believed that he had succeeded in grand style -- with nearly 250 pieces of screen music as a realistic basis for affirmation.

Academy Award-winning composer and songwriter ("Whistle While You Work", "Some Day My Prince Will Come"), and pianist, educated at the University of California. He was a pianist in film theatres, and then came to Hollywood under contract to Walt Disney. Joining ASCAP in 1938, his chief musical collaborators included Ann Ronell and Larry Morey. His other popular-song compositions include "I Bring You a Song", "Love Is a Song", "Who's Afraid of the Big Bad Wolf?", "Spring is in the Air", "Ain't Nature Grand?", "The Golden Youth", "Slow but Sure", "With a Smile and a Song", "I'm Wishing", "Heigh-Ho", "Happy as a Lark", "The Sunny Side of Things", "One Song", and "Baby Mine".

Carter Burwell was born on 18 November 1954 in New York City, New York, USA. He is a composer and actor, known for Carol (2015), Three Billboards Outside Ebbing, Missouri (2017) and The Banshees of Inisherin (2022). He has been married to Christine Sciulli since 1999.

Clinton Darryl Mansell is an English singer, musician and film composer known for his collaborations with Darren Aronofsky. He composed Pi, Requiem for a Dream, The Fountain, Black Swan, The Wrestler, Noah, Ghost in the Shell, Peacemaker, Doom Patrol, Loving Vincent, Mass Effect 3, Titans, World Traveler, Smokin' Aces, Doom, The Hole, and Definitely, Maybe.

Ryuichi Sakamoto was born on 17 January 1952 in Tokyo, Japan. He was a composer and actor, known for The Last Emperor (1987), The Revenant (2015) and Merry Christmas Mr. Lawrence (1983). He was married to Akiko Yano. He died on 28 March 2023 in Tokyo, Japan.

Trained in classical music at Columbia University, Webb worked on Broadway by the time he was in his mid-20's, not only composing incidental music, but co-writing original plays with his older brother, the director Kenneth S. Webb. By 1923, he worked as conductor/arranger on hit shows like "Music Box Revue" and "Stepping Stones". Two years later, a collaboration with his illustrious peer Max Steiner led to a lasting friendship, as well as (by his own admission) profoundly influencing his own future career as a composer. At the end of the decade, Steiner, then head of the music department at RKO, persuaded Webb to accept an assignment in Hollywood, scoring the musical Rio Rita (1929).

Steiner remained in charge until his departure in 1935, when Webb effectively took his place, remaining a fixture at RKO until 1955. He often worked in conjunction with Bernard Herrmann and C. Bakaleinikoff, supervising, conducting and composing scores for literally hundreds of films. As a composer, his style was somewhat akin to that of Herbert Stothart, in that it was more subtle, less overtly dramatic, yet still perfectly integrated with the action, or imperceptibly underscoring the dialogue. A good example is the romantic violin-laden score for the sentimental drama The Enchanted Cottage (1945). The piano concerto from this film was performed later that year at the Hollywood Bowl.

Better still, were his understated, eerily effective horror themes, setting the mood for the films of Val Lewton, of which Cat People (1942) and The Body Snatcher (1945) are absolute standouts. Webb's other noteworthy contribution was in the field of thrillers and films noir, notably The Spiral Staircase (1946), Notorious (1946) and Out of the Past (1947). After RKO wound down, Webb free-lanced for several years, working variously at Warners, Paramount and for John Wayne's Batjac Productions. Though his entire collection of manuscripts was sadly lost in a house fire, copies of his scores from the RKO vaults have been preserved at UCLA.

Argentine musician and leader of the now defunct bands "Arco Iris" and "Soluna", Gustavo Santaolalla was one of the references of his country's national music by the end of the 1960s and beginning of the 1970s. During the 70s he relocated to the United States, where he formed the band Wet Picnic, with Aníbal Kerpel, Aaurie Buhne and Robert Brill, with which he developed an intense activity in the city of Los Angeles. In 1982 he returned to Argentina to record a solo work - with a new sound- very influenced by the American pop trends of the time, called "Santaolalla", in which participated Argentine bassist Alfredo Toth (GIT band) and keyboardist Alejandro Lerner. In the music production area, his work was emphasized in "De Ushuaia a La Quiaca" ("From Ushuaia to La Quiaca") -another Argentine mythical musician León Gieco's project- following his same national folk line. Back in Los Angeles, produced records for "Café Tacuba" and "Maldita vecindad" among others, returning once more to Argentina in the middle of the '90 with a second solo work, "GAS" (his name's initials). His works in group production from the USA have turned Santaolalla into a prominent figure in that area, what gave him, besides, the chance to participate in big musical projects for cinema movies with successful results ("Amores perros", "21 Grams", "Diarios de motocicleta" -"The Motorcycle Diaries"), crowned with the Oscar award in March, 2006, by the music of the controversial film "Brokeback Mountain" and in 2007 for his friend Alejandro González Iñárritu's "Babel". This makes him the third composer to win in the Best Original Score two years in a row.

During his roughly 15-year-long career, Fumio Hayasaka composed scores for some of the biggest names in Japanese cinema and was regarded by many as the finest Japanese film composer alive. Many of his scores were written for no less a cinematic luminary than Akira Kurosawa, including the legendary director's breakthrough multiple-perspective masterpiece "Rashomon" (1950). The brilliant composer's career was sadly cut short by tuberculosis in 1955, but his influence lives on not only in the still-watched films that bear his musical mark, but also in the work of the pupils he groomed as his successors. One such protégé, Masuru Sato, completed the score for Kurosawa's "I Live in Fear: Record of a Living Being" (1955), the project on which Hayasaka was working at the time of his death. Sato went on to provide scores for a substantial portion of Kurosawa's subsequent films. Another composer whose career owes a debt to Hayasaka is Akira Ifukube, whose work has enhanced the dramatic effect of many a "Godzilla" motion picture. It was Hayasaka who recommended Ifukube to Toho Studios.

Shigeru Umebayashi was born on 19 February 1951 in Kitakyushu, Japan. He is a composer, known for 2046 (2004), The Grandmaster (2013) and A Single Man (2009).

Brian studied under Gordon Jacob and Armstrong Gibbs at the RCM (Royal College of Music). He wrote his first opera (Rapunzel) at the age of 17 and at age 20 had the honor of having a Dead March processional he had written performed by the London Symphony Orchestra under Sir 'Malcolm Sargent'. Brian served with the Royal Artillery during WWII but spent a lot of that time working as a composer for various government Film Units composing the music for training films and propaganda works. His major film work was done for the famous team of Michael Powell and Emeric Pressburger with suitably dramatic scores for Black Narcissus (1947) and most famously The Red Shoes (1948). When their regular composer 'Allan Gray' failed to deliver what they wanted for The Red Shoes (1948) Powell & Pressburger turned to Easdale. He wrote the complete ballet score complete with innovations such as the mysterious Ondes Martenot.

George Fenton was born on 19 October 1949 in Bromley, Kent, England, UK. He is a composer and actor, known for Groundhog Day (1993), Ever After: A Cinderella Story (1998) and The Bounty Hunter (2010).

Vangelis was a composer and performer who worked almost exclusively with electronic instruments. With Jean-Michel Jarre and Mike Oldfield in the 1970s, Vangelis was a pioneer in the instrumental music and a main influence in the creation of the musical genre "new age," a style related to spiritual, meditation, relaxing ambient sounds as well as sounds from outer space. He was probably most well known for his Chariots of Fire (1981), Blade Runner (1982), The Bounty (1984) and 1492: Conquest of Paradise (1992) soundtracks or for the tracks used in the documentary TV series Cosmos (1980) created, produced and hosted by scientist Carl Sagan. Vangelis was involved in many musical collaborations, most famously with British progressive rock band Yes's founding member Jon Anderson.

Considered to be one of the greatest minds in music and television history, Quincy Delight Jones, Jr. was originally from Chicago, Illinois. He was the son of Sarah Frances (Wells), a bank executive, and Quincy Delight Jones, Sr., a carpenter.

Jones found his love for music while he was enrolled in grade school at Seattle's Garfield High School, this is also where he had met Ray Charles whom he later worked and became friends with. In 1951, Jones had won a scholarship to the Berklee College Of Music in Boston, Massachusetts. Jones however dropped out when he got the opportunity to tour with Lionel Hampton's band as a trumpeter and conductor. Jones also worked for the European production of Harold Arlen's blues opera, Free and Easy in 1959. After Jones had worked on several projects overseas he returned to New York where he composed and arranged, and recorded for artists such as Duke Ellington, Ray Charles, Sarah Vaughan, Count Basie, Dinah Washington, LeVern Baker, and Big Maybell. Jones was working with these artists while holding an executive position at Mercury Records, being one of the very few African Americans at the time to have such a position.

In 1963, Jones won his first Grammy award for his Count Basie arrangement of "I Can't Stop Loving You". In 1964, by the request of director Sidney Lumet, Jones composed the music for his movie, The Pawnbroker. This would be the first of many Jones composed for film scores. By the mid-1960s, Jones became the conductor and arranger for Frank Sinatra's orchestra. Jones also conducted and arranged one of Sinatra's most memorable songs, Fly Me To The Moon. Jones appeared on a lot of film credits for his music such as The Slender Thread, Walk, Don't Run, In Cold Blood, In The Heat Of The Night, A Dandy In Aspic, Mackenna's Gold, and The Italian Job. In 1972 Quincy Jones was the theme song composer for the hit sitcom Sanford and Son.

Jones in 1978 worked on music for the Wiz, this is where he met icon, Michael Jackson. Jackson at the time was looking for a producer, Jones recommended some producers but in the end asked Jackson if he could do it, Jackson said yes. In 1982 as a result of this partnership, Jones had formed a tapestry with Jackson which was unbreakable it was called, Thriller. The Thriller album sold more than 100 million records world-wide. Jones continued working with Jackson with his Bad album in 1987. However after Jones recommended Jackson seek other producers to update his music. Jones referred Jackson to producer, Teddy Riley. This ended a partnership between two-greats, Jackson and Jones would never collaborate again.

In 1981 Jones had an album called, The Dude. In 1985 Jones scored the film adaptation of The Color Purple. Jones also was a philanthropist, in 1985 gathering multiple stars to participate in the song We Are the World to help raise money to help the victims of the Ethiopian disaster.

In 1990 Jones composed a theme song for the new sitcom which was centered around Will Smith, The Fresh Prince Of Bel Air. Jones was also the executive producer of the show.

Quincy Jones will forever be remembered as someone who helped sculpt music in every form, he refined music and through the music he helped sculpt brought messages of peace, justice, love, funk, and hope.

Justin Hurwitz was born on 22 January 1985 in Los Angeles, California, USA. He is a writer and producer, known for La La Land (2016), First Man (2018) and Whiplash (2014).