In the 1990s David Arnold scored a lot of films directed by Roland Emmerich.
Stargate, Independence Day and Godzilla – all of the Emmerich blockbuster movies had great scores by composer David Arnold. Canotte Cleveland Cavaliers In 2000, the director changed the composer: for his historic drama film The Patriot, Emmerich engaged John Williams after David Arnold´s first musical thoughts on the project were rejected. A historic moment in film history: After the rejection, David Arnold never again worked together with Roland Emmerich.
Bad for the german director! He never got better scores for his films than the ones David Arnold has written, even if John Williams´ score for The Patriot was a great one in 2000. Steve Smith Sr Ravens Jerseys It was nominated for an Academy Award! With his score, the legendary composer, who once wrote the music for Jaws and Star Wars, memorialized the American Revolution as he has with the World War II and Saving Private Ryan; and surely the composer was one of the best choices for historic film projects. In the 90s alone, Williams wrote the scores for films like JFK, Far and Away, Schindler´s List, Nixon, Amistad and, as aforementioned, Saving Private Ryan – all great scores by one of Hollywood´s best composers. The Patriot is one more on the list of excellent scores for a film with historical background. But although his music was nominated for an Academy Award, there are stronger soundtrack compositions in 2000 which weren´t nominated for the most important awards in Hollywood. James Horner´s score for The Perfect Storm for example. Horner wrote an emotional soundtrack for Wolfgang Petersen´s film about a fishing boat´s ill-fated encounter with a storm. Glamorous stars (George Clooney, Mark Wahlberg and Diane Lane), an ill-fated romance and great special effects are all part of the filmic competitor to The Patriot (The Patriot and The Perfect Storm started on the same day (June 30, 2000); both came from german directors; and both have music by some of Hollywood´s best composers). Adidas NMD Heren Horner combines the symphonic grandeur of his musical material with a touch of rock guitar in some scenes and consequently generates pure emotion. His theme belongs to his very best compositions – a graceful, memorable piece of music for Wolfgang Petersen´s film, which ultimately became one of the biggest hits of the summer 2000. Johnny Manziel – Texas A&M Aggies It was a more fascinating filmic experience than Roland Emmerich´s The Patriot.
The Year 2000 was also a very strong one for composer Christopher Young. Young´s mastery as a musician always shines through in the most fascinating way, when he writes music for more darker or scary movies. For Hellraiser in 1987, the composer wrote a great score. His music for Copycat in 1995 is even better. In 2000, Young created the music for the exciting The Gift as well as for the Satanic horror film Bless the Child.
The film is far away of being a great movie, but the score for Bless the Child is a little masterpiece. After nearly two decades of scoring horror films, the composer still found inspiration in the genre, writing one of his best scores for the movie starring Kim Basinger. His choral and orchestral music is a highlight of the year. Young´s score for The Gift instead is much more intimate, capturing the Southern atmosphere of the film within the great main theme.
Hans Zimmer (and co-writer Lisa Gerrard) did a great job with the score to Ridley Scott´s Gladiator, too. The orchestral music won the Golden Globe, but lost at the Academy Awards to Tan Dun´s drum-heavy music for Crouching Tiger, Hidden Dragon.
Zimmer´s music was influential: the female vocals became a stylistic medium, many composers has used since. Air Jordan 10 Uomo The battle waltz was also a stylistic choice, composers used for ancient war movies many times. Adidas Schoenen Zimmer himself was hugely influenced by another composer during the writing process of the score: The cue ´The Battle´ reminds of Gustav Holst (1874-1934) and his seven-movement orchestral suite The Planets – one of Holst´s most popular compositions, written between 1914 and 1916. Especially, the movement ´Mars, the bringer of war´ comes to mind, when you hear Zimmer´s ´The Battle´ or ´Barbarian Horde´. Some film music critics mentioned also Richard Wagner´s themes from Siegfried and Götterdämmerung as main influences on the score for Gladiator, which is surely one of Zimmer´s very best works for the big screen.
When you look at the film music year 2000, you may not forget to mention other highlights: James Newton Howard´s music for director M. Night Shyamalan´s movie Unbreakable, Rachel Portman´s music for Chocolat or Ennio Morricone´s score for Malena. The powerful science-fiction-thriller score for Hollow Man is also a winner and was composed by one of Hollywood´s legends: Jerry Goldsmith. It was the first time since the incredible Basic Instinct (1992) that the composer had worked together with Dutch film director Paul Verhoeven. Total Recall and Basic Instinct were both filmic highlights in the career of Verhoeven, but also in the career of Jerry Goldsmith, who composed music for the films. For Hollow Man, the composer did a great job, too, composing a dark score with a suspenseful but melodic main theme and thunderous action-cues.