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Ennio Morricone
Ennio Morricone composed the scores for Sergio Leone's Spaghetti Western films, including The Good, the Bad and the Ugly, and his distinctive use of unconventional instrumentation — whistling, electric guitar, and human voice used as a lead melodic instrument — established an entirely new sonic vocabulary for Western film scoring. His combined film scoring output across more than five decades and hundreds of films spans Westerns, crime dramas, and historical epics, and Morricone's versatility across such a broad range of genres and directors made him one of the most prolific and consistently in-demand composers in film history. Despite scoring dozens of internationally acclaimed films across his career, Morricone didn't win a competitive Academy Award until 2016, for The Hateful Eight, decades into his career, following five prior nominations without a win — a gap widely regarded within the industry as one of the more significant Oscar delays for a composer of his stature. His combination of genuinely innovative instrumentation and his massive, stylistically varied body of work has made Morricone one of the most influential and widely imitated film composers in the medium's history, and his Spaghetti Western scores specifically remain among the most instantly recognizable pieces of film music ever composed.
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Howard Shore
Howard Shore composed the scores for Peter Jackson's Lord of the Rings trilogy, developing an extensive system of distinct musical themes representing different cultures and characters across Middle-earth, and his work on the trilogy won multiple Academy Awards across the three films. His score's scale and structural ambition, composing what amounts to roughly 10 hours of continuous, thematically interconnected music across the trilogy's combined runtime, represented one of the most extensive single-project compositional undertakings in film scoring history. Shore's earlier work scoring numerous David Cronenberg films established his reputation for atmospheric, psychologically unsettling scoring well before his Lord of the Rings success, demonstrating a stylistic range spanning intimate psychological horror and massive orchestral fantasy epic scoring. His combination of the Lord of the Rings trilogy's unprecedented scale and thematic complexity, alongside his earlier body of more intimate, atmospheric work, has made Shore one of the most structurally ambitious and stylistically versatile film composers of his generation.
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