This topic, instead, is about HOW you would hire a composer.

Would you...

a) Hire a different composer for each film
(Richard Donner; the Lethal Weapon sequels don't count)

b) Hire a different composer for each film, but go back to a particular one every once in a while(Ron Howard, Brian De Palma)

c) Change your composer every couple of films
(Wes Craven)

d) Flip-flop between composers depending on the film(Paul Verhoeven)

e) Hire the same person for every film, save the occasional scrape(Tim Burton, Steven Spielberg, Robert Zemeckis, etc.)

f) Score the film yourself(John Carpenter)?

Any thoughts?

Now, I like to take the time to bring to your attention the following:

TV Scores(General Topics)
David Newman(Movie Composers)

For only moments a day, you can support public broadcasting... I mean these threads.

d) Flip-flop between composers depending on the film

It'd be great to build a relationship with one, maybe two composers. My main choice would still be Michael Kamen. He will prove himself with X-Men otherwise I'll be looking for another favourite composer. Goooooo Kamen!

My anwser is simple; I choose which ever composer is right for the job.

Dan (UK)

(e) Hire the same composer for every film, save for the occassional scrape.

And when I become rich and famous I'll score my own films, and put out the score CDs as limited editions because I'll be arrogant enough to believe people will have seen my films and will listen to the exuberant scores.
No graciousness and civility from me!

Joe, you need a wide receiver?

I am such a PIG...

Look at me, talking like I actually know something.

When I start out with my little projects I will probably either (f) compose them myself or (g) temp in classical music.

Once I have the budget and the influence to actually hire a composer of note, I have often thought of John Debney and Don Davis, but they both have always subsided and the composer I've gone for in my mind has always been... Richard Band.

It's perfect. When my career is just starting to get to its knees, I'll do a B-movie for Full Moon Films, and that's when I'll meet him. Eventually I'll do a big-budget feature and we'll both get Oscars. I'll use Band for every one of the great 20+ ideas I have in my head or on paper.

Aren't dreams grand?

I think the reason great collaborations such as Herrmann/Hitchcock, Morricone/Leone, Goldsmith/Schaffner and Williams/Spielberg are so fruitful is because of years of interaction and mutual understanding. There's a built-in synergy that takes place in these relationships and that's what I would want as a director.

Otherwise, ideally, one should pick a composer you like and can get along with -- the more versatile the better -- and continue as often as possible. On the other hand, the chance to work with a Goldsmith or Williams would be well-nigh irresistible ...