Is there an issue? Send a MessageReason:
None
Changed line(s) 20,21 (click to see context) from:
Herrmann's non-cinematic works include the four-act opera ''Theatre/WutheringHeights''. Herrmann also did some television work; he composed the original theme song for ''Series/{{The Twilight Zone|1959}}'' (used only during the first season), and also scored individual episodes of that series, ''Series/TheAlfredHitchcockHour'' and ''Series/HaveGunWillTravel''. Toward the end of his life he also conducted a series of recordings for the Decca record company, which included several LPs of film music (both his own and others') as well as classical pieces like Holst's ''The Planets''.
to:
Herrmann's non-cinematic works include the four-act opera ''Theatre/WutheringHeights''. Herrmann also did some television work; he composed the original theme song for ''Series/{{The Twilight Zone|1959}}'' (used only during the first season), and also scored individual episodes of that series, ''Series/TheAlfredHitchcockHour'' and ''Series/HaveGunWillTravel''. Toward the end of his life he also conducted a series of recordings for the Decca record company, which included several LPs discs of film music (both his own and others') as well as classical pieces like Holst's ''The Planets''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 20,21 (click to see context) from:
Herrmann's non-cinematic works include the four-act opera ''Theatre/WutheringHeights''. Herrmann also did some television work; he composed the original theme song for ''Series/{{The Twilight Zone|1959}}'' (used only during the first season), and also scored individual episodes of that series, ''Series/TheAlfredHitchcockHour'' and ''Series/HaveGunWillTravel''.
to:
Herrmann's non-cinematic works include the four-act opera ''Theatre/WutheringHeights''. Herrmann also did some television work; he composed the original theme song for ''Series/{{The Twilight Zone|1959}}'' (used only during the first season), and also scored individual episodes of that series, ''Series/TheAlfredHitchcockHour'' and ''Series/HaveGunWillTravel''.
''Series/HaveGunWillTravel''. Toward the end of his life he also conducted a series of recordings for the Decca record company, which included several LPs of film music (both his own and others') as well as classical pieces like Holst's ''The Planets''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 52 (click to see context) from:
* ''The 3 Worlds of Gulliver'' (1960)
to:
* ''The 3 Worlds of Gulliver'' ''Film/TheThreeWorldsOfGulliver'' (1960)
Is there an issue? Send a MessageReason:
None
Changed line(s) 4,5 (click to see context) from:
-->-- '''Bernard Herrmann''', commenting on Richard Rodney Bennett's use of a waltz in ''[[Film/MurderOnTheOrientExpress1974 Murder on the Orient Express]]''
to:
-->-- '''Bernard Herrmann''', commenting on Richard Rodney Bennett's use of a waltz in ''[[Film/MurderOnTheOrientExpress1974 Murder on the Orient Express]]''
''Film/MurderOnTheOrientExpress1974''
Changed line(s) 27 (click to see context) from:
* ''Film/JaneEyre'' (1943)
to:
* ''Film/JaneEyre'' ''Film/{{Jane Eyre|1943}}'' (1943)
Changed line(s) 51 (click to see context) from:
* ''Film/JourneyToTheCenterOfTheEarth'' (1959)
to:
* ''Film/JourneyToTheCenterOfTheEarth'' ''Film/{{Journey to the Center of the Earth|1959}}'' (1959)
Changed line(s) 59 (click to see context) from:
* ''Film/{{Fahrenheit 451}}'' (1966)
to:
* ''Film/{{Fahrenheit 451}}'' ''Literature/Fahrenheit451'' (1966)
Is there an issue? Send a MessageReason:
None
Changed line(s) 10,11 (click to see context) from:
Twentieth Century-Fox music director Music/AlfredNewman hired Herrmann to score ''Film/JaneEyre'' (1943), ''Hanover Square'' (1945), ''Anna and the King of Siam'' (1946), ''Film/TheGhostAndMrsMuir'' (1947) and ''Film/{{The Day the Earth Stood Still|1951}}'' (1951).
to:
Twentieth Century-Fox music director Music/AlfredNewman hired Herrmann to score ''Film/JaneEyre'' ''Film/{{Jane Eyre|1943}}'' (1943), ''Hanover Square'' (1945), ''Anna and the King of Siam'' (1946), ''Film/TheGhostAndMrsMuir'' (1947) and ''Film/{{The Day the Earth Stood Still|1951}}'' (1951).
Is there an issue? Send a MessageReason:
None
Changed line(s) 78 (click to see context) from:
* Main/Typecasting: He often bemoaned that his association with Hitchcock meant he was selected mostly for thrillers and horror films, and wished that he could get some lighter-hearted films.
to:
* Main/Typecasting: {{Typecasting}}: He often bemoaned that his association with Hitchcock meant he was selected mostly for thrillers and horror films, and wished that he could get some lighter-hearted films.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* Main/Typecasting: He often bemoaned that his association with Hitchcock meant he was selected mostly for thrillers and horror films, and wished that he could get some lighter-hearted films.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
----
!! This composer provides examples of the following tropes:
* DeathlyDiesIrae: In ''Psycho'', a repeating, backwards variation on ''dies irae'' plays as Marion is looking around her room in the Bates Motel, exploring the place where she will meet her end.
* PsychoStrings: The TropeNamer. Herrmann's score to ''Psycho'' takes string instruments, at the time associated primarily with {{Sentimental Music Cue}}s, and makes them sound ugly and brutal.
* ScareChord: The piano gets some really bad abuse in his score to ''The Day the Earth Stood Still''.
* {{Theremin}}: The score to ''The Day the Earth Stood Still'' features one on the most iconic usages of the instrument in the history of film scoring.
* WeUsedToBeFriends: Herrmann and Creator/AlfredHitchcock were collaborators who spurred each other to make their best work in their collaborations, Hitchcock made his best films and Herrmann wrote his greatest scores. Then Hitchcock on ''Film/TornCurtain'' insisted that Herrmann change his score and follow his instructions. Herrmann pointed out that their agreement from Day 1 was that he would have total control over the music and that Hitchcock, who was not a trained musician, would not be PrimaDonnaDirector on him. They parted ways acrimoniously and never worked again though they apparently reconciled shortly before Herrmann's death.
!! This composer provides examples of the following tropes:
* DeathlyDiesIrae: In ''Psycho'', a repeating, backwards variation on ''dies irae'' plays as Marion is looking around her room in the Bates Motel, exploring the place where she will meet her end.
* PsychoStrings: The TropeNamer. Herrmann's score to ''Psycho'' takes string instruments, at the time associated primarily with {{Sentimental Music Cue}}s, and makes them sound ugly and brutal.
* ScareChord: The piano gets some really bad abuse in his score to ''The Day the Earth Stood Still''.
* {{Theremin}}: The score to ''The Day the Earth Stood Still'' features one on the most iconic usages of the instrument in the history of film scoring.
* WeUsedToBeFriends: Herrmann and Creator/AlfredHitchcock were collaborators who spurred each other to make their best work in their collaborations, Hitchcock made his best films and Herrmann wrote his greatest scores. Then Hitchcock on ''Film/TornCurtain'' insisted that Herrmann change his score and follow his instructions. Herrmann pointed out that their agreement from Day 1 was that he would have total control over the music and that Hitchcock, who was not a trained musician, would not be PrimaDonnaDirector on him. They parted ways acrimoniously and never worked again though they apparently reconciled shortly before Herrmann's death.
Is there an issue? Send a MessageReason:
None
Changed line(s) 12,13 (click to see context) from:
Unlike most composers, Herrmann took film scoring very seriously and required a commitment different from other genres of classical music. He was also ThePerfectionist and he would refuse to score a movie if he didn't have creative control because most directors, in his opinion, didn't know about music and lacked the training. In his career, he cited Creator/OrsonWelles, William Dieterle, Creator/NicholasRay as exceptions, as directors who understood music. Herrmann also made it a point to not only write the compositions, but personally orchestrate and conduct his music, which he felt was crucial for him.
to:
Unlike most composers, Herrmann took film scoring very seriously and required a commitment different from other genres of classical music. He was also ThePerfectionist and he would refuse to score a movie if he didn't have creative control because most directors, in his opinion, didn't know about music and lacked the training. In his career, he cited Creator/OrsonWelles, Welles, William Dieterle, Creator/NicholasRay as exceptions, as directors who understood music. Herrmann also made it a point to not only write the compositions, but personally orchestrate and conduct his music, which he felt was crucial for him.
Is there an issue? Send a MessageReason:
None
Changed line(s) 12,13 (click to see context) from:
Unlike most composers, Herrmann took scoring for the movies very seriously and requiring a commitment different from other genres of classical music. He was also ThePerfectionist and he would refuse to score a movie if he didn't have creative control because most directors, in his opinion, didn't know about music and lacked the training. In his career, he cited Creator/OrsonWelles, William Dieterle, Creator/NicholasRay as exceptions, as directors who understood music. Herrmann also made it a point to not only write the compositions, but personally orchestrate and conduct his music, which he felt was crucial for him.
to:
Unlike most composers, Herrmann took film scoring for the movies very seriously and requiring required a commitment different from other genres of classical music. He was also ThePerfectionist and he would refuse to score a movie if he didn't have creative control because most directors, in his opinion, didn't know about music and lacked the training. In his career, he cited Creator/OrsonWelles, William Dieterle, Creator/NicholasRay as exceptions, as directors who understood music. Herrmann also made it a point to not only write the compositions, but personally orchestrate and conduct his music, which he felt was crucial for him.
Is there an issue? Send a MessageReason:
None
Changed line(s) 1,2 (click to see context) from:
[[quoteright:240:https://static.tvtropes.org/pmwiki/pub/images/BernardHerrmann_2758.jpg]]
to:
Is there an issue? Send a MessageReason:
None
Changed line(s) 6,9 (click to see context) from:
Bernard Herrmann, (born Max Herman, June 29, 1911 – December 24, 1975) was the son of Jewish immigrants from what's now Ukraine. He is widely regarded as one of the greatest film composers of all time. Herrmann's music is typified by frequent use of ''ostinati'' (short repeating patterns), novel orchestration and, in his film scores, an ability to portray character traits not altogether obvious from other elements of the film. He won an [[UsefulNotes/AcademyAward Oscar]] for ''Film/TheDevilAndDanielWebster'' (1941), his second film score.
In 1934, he joined the Columbia Broadcasting System (Creator/{{CBS}}) as a staff conductor. Whilst at CBS, he met Creator/OrsonWelles, and wrote scores for Welles's radio show, ''Radio/TheMercuryTheatreOnTheAir'', including the famous [[Radio/TheWarOfTheWorlds radio adaptation]] of Creator/HGWells' ''Literature/TheWarOfTheWorlds''. When Welles moved to movies, Herrmann went with him, writing the scores for ''Film/CitizenKane'' (1941) and ''Film/TheMagnificentAmbersons'' (1942), although the score for the latter, like the film itself, was heavily edited by the studio.
In 1934, he joined the Columbia Broadcasting System (Creator/{{CBS}}) as a staff conductor. Whilst at CBS, he met Creator/OrsonWelles, and wrote scores for Welles's radio show, ''Radio/TheMercuryTheatreOnTheAir'', including the famous [[Radio/TheWarOfTheWorlds radio adaptation]] of Creator/HGWells' ''Literature/TheWarOfTheWorlds''. When Welles moved to movies, Herrmann went with him, writing the scores for ''Film/CitizenKane'' (1941) and ''Film/TheMagnificentAmbersons'' (1942), although the score for the latter, like the film itself, was heavily edited by the studio.
to:
Bernard Herrmann, Herrmann (born Max Herman, Herman; June 29, 1911 – December 24, 1975) was the son of Jewish immigrants from what's now Ukraine. He is widely regarded as one of the greatest film composers of all time. Herrmann's music is typified by frequent use of ''ostinati'' (short repeating patterns), novel orchestration and, in his film scores, an ability to portray character traits not altogether obvious from other elements of the film. He won an [[UsefulNotes/AcademyAward Oscar]] UsefulNotes/AcademyAward for ''Film/TheDevilAndDanielWebster'' (1941), his second film score.
Born in New York City, the son of Jewish immigrants from what is now Ukraine, Herrmann studied music at the Juilliard School. In 1934, he joined the Columbia Broadcasting System (Creator/{{CBS}}) as a staff conductor. Whilst at CBS, he met Creator/OrsonWelles, and wrote scores for Welles's radio show, ''Radio/TheMercuryTheatreOnTheAir'', including the famous [[Radio/TheWarOfTheWorlds radio adaptation]] of Creator/HGWells' ''Literature/TheWarOfTheWorlds''. When Welles moved to movies, Herrmann went with him, writing the scores for ''Film/CitizenKane'' (1941) and ''Film/TheMagnificentAmbersons'' (1942), although the score for the latter, like the film itself, was heavily edited by the studio.
Born in New York City, the son of Jewish immigrants from what is now Ukraine, Herrmann studied music at the Juilliard School. In 1934, he joined the Columbia Broadcasting System (Creator/{{CBS}}) as a staff conductor. Whilst at CBS, he met Creator/OrsonWelles, and wrote scores for Welles's radio show, ''Radio/TheMercuryTheatreOnTheAir'', including the famous [[Radio/TheWarOfTheWorlds radio adaptation]] of Creator/HGWells' ''Literature/TheWarOfTheWorlds''. When Welles moved to movies, Herrmann went with him, writing the scores for ''Film/CitizenKane'' (1941) and ''Film/TheMagnificentAmbersons'' (1942), although the score for the latter, like the film itself, was heavily edited by the studio.
Is there an issue? Send a MessageReason:
Changed line(s) 59 (click to see context) from:
* ''The Bride Wore Black'' (1968)
to:
* ''The Bride Wore Black'' ''Film/TheBrideWoreBlack'' (1968)
Is there an issue? Send a MessageReason:
None
Changed line(s) 62 (click to see context) from:
* ''The Battle of Neretva'' (1969)
to:
* ''The Battle of Neretva'' (1969)''Film/TheBattleOfNeretva'' (1969) (English-language dub only)
Is there an issue? Send a MessageReason:
None
Changed line(s) 18,19 (click to see context) from:
Herrmann moved to England, where he began working with younger directors, including Creator/FrancoisTruffaut, Creator/BrianDePalma, Creator/LarryCohen and Creator/MartinScorsese. He died in his sleep on December 24, 1975, just a few hours after completing recording on his last film score, for ''Film/TaxiDriver''.
to:
Herrmann moved to England, where he began working with younger directors, including Creator/FrancoisTruffaut, Creator/BrianDePalma, Creator/LarryCohen and Creator/MartinScorsese. His work for De Palma was especially appropriate, since De Palma made ''Sisters'' and ''Obsession'' InTheStyleOf Hitchcock. He died in his sleep on December 24, 1975, just a few hours after completing recording on his last film score, for ''Film/TaxiDriver''.
Changed line(s) 67 (click to see context) from:
* ''Obsession'' (1976) -- An appropriate assignment for Herrmann, since director Creator/BrianDePalma very openly intended this film to be an extended homage to ''Film/{{Vertigo}}''.
to:
* ''Obsession'' ''Film/{{Obsession}}'' (1976) -- An appropriate assignment for Herrmann, since director Creator/BrianDePalma very openly intended this film to be an extended homage to ''Film/{{Vertigo}}''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 44 (click to see context) from:
* ''Film/TheManWhoKnewTooMuch'' (1956)
to:
* ''Film/TheManWhoKnewTooMuch'' (1956)(1956) -- He also makes a CreatorCameo in the film, conducting the London Symphony Orchestra.
Changed line(s) 67 (click to see context) from:
* ''Obsession'' (1976)
to:
* ''Obsession'' (1976)(1976) -- An appropriate assignment for Herrmann, since director Creator/BrianDePalma very openly intended this film to be an extended homage to ''Film/{{Vertigo}}''.
