Reply To: Consistent versatility – who has it?
Among composers you would generally consider “versatile,” do you find that some tend to maintain their own signature sound more than others, and if so, is that an asset or a drawback?
For example, I consider Morricone – who is my top film composer, incidentally – to be very versatile, yet he still manages to consisentently sound like Morricone to my ears.
On the other hand, I think Goldsmith is equally versatile, but he can completely fool me. I remember picking up Sebastian and thinking that it sounded like a Euro score. It didn’t even sound like the scores for the Flint films, which cover similar territory and date from the same period.