[Thor Joachim Haga]

– Emmerich/Kloser & Wander

I’m probably the room’s biggest Emmerich fan (he’s maybe among my top 10 favourite filmmakers!), but obviously, the Kloser/Wander collaboration can’t stand up to David Arnold or John Williams. That being said, I really like THE DAY AFTER TOMORROW and I thought MIDWAY was much better than its reputation.

– Tykwer/Heil & Klimek

We talked a little bit about that in the PERFUME thread. Still weird to think of a director (who is also a composer) working with not one, but TWO other composers on a regular basis. Beyond PERFUME – their masterpiece – and LOLA RENNT, my connection to their work is lukewarm. Didn’t care much for CLOUD ATLAS.

– Roberto Rossellini/Renzo Rossellini

Embarassingly, I’ve only seen ROME, OPEN CITY and possibly STROMBOLI. I don’t think I’ve ever listened to any of the scores by his brother on their own.

– Nicolas Roeg/Stanely Myers

Superb collaboration, and we might as well throw Zimmer in there. Although I have a nostalgic relationship to THE WITCHES (which is one of the few times I’ve seen a film in the cinema with my mother), SIGNIFICANCE remains their magnum opus (that last cue, which is mostly Zimmer’s, is to die for!). CASTAWAY is decent too.

– Stephen Bochco/Mike Post & Pete Carpenter
– Stephen J. Cannell/Mike Post & Pete Carpenter

Other than maybe some themes on a compilation or two, I don’t think I have anything by Post or Carpenter in my collection. Bochco and Post’s LA LAW, however, remains a huge nostalgic favourite of mine. One of the few US television shows they showed on our only TV channel in Norway, usually Fridays.

Did anyone already mention Alberto Iglesias and Pedro Almodóvar?

They fare pretty well in cineaste circles. I was a never a big fan of either, to be honest (shocking, I know). But I did stumble drunkenly out of a pub in Ghent with Iglesias some 15 years ago.

Goblin and Dario Argento?

As we touched on earlier, HUGE names in cineaste circles, or cult circles. I’d be hardpressed to call them underrated. For many years, SUSPIRIA was the only Goblin soundtrack in my collection. A few years ago, I wanted to explore their work more. What I found was that they wrote AMAZING themes, but the rest of the scores usually left me cold. So I settled with some custom-made compilations of themes. It’s weird that the “body of their work” didn’t connect more with me, since I’m a big fan of both prog rock and electronics.

And there’s Nathan and Rian Johnson.

Cousins! Both this and the Rossellini brothers could have been put in the “It runs in the family” thread. LOOPER had some interesting things going on, otherwise I’m not a big fan. Not a big fan of the KNIVES OUT films either.

And Thomas Newman with Sam Mendes.

Pretty famous pair. I like the “trilogy” of AMERICAN BEAUTY, ROAD TO PERDITION and REVOLUTIONARY ROAD. The rest doesn’t ignite me much. My own choice for underrated Thomas Newman collaborations, as mentioned in my post earlier, is Jon Avnet. In particular LESS THAN ZERO, FRIED GREEN TOMATOES, THE WAR and UP CLOSE AND PERSONAL. RED CORNER is rather boring, at least I felt that way when I sold my CD years ago. Perhaps it’s ripe for a re-evaluation.

And maybe Gabriel Yared and Anthony Minghella. But I think, they also just ha 3 movies together.

Another pretty classic pair. Four movies, actually. THE ENGLISH PATIENT, THE TALENTED MR. RIPLEY, COLD MOUNTAIN and BREAKING AND ENTERING. Minghella often used a lot of existing music, with which Yared had to contend. THE ENGLISH PATIENT remains my favourite, but the most interesting score was probably BREAKING AND ENTERING, with Yared collaborating with Underworld. I’m not totally sold on the end result, but the pairing was odd and cool!