Dreamscape soundtrack maurice jarre biography
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Maurice Jarre
French composer and conductor (–)
Maurice Jarre | |
|---|---|
| Born | ()13 September Lyon, France |
| Died | 28 March () (aged&#;84) Los Angeles, California, U.S. |
| Occupation(s) | Composer, conductor |
| Years active | – |
Musical artist
Maurice-Alexis Jarre (French pronunciation:[mɔʁisalɛksiʒaʁ]; 13 September – 28 March )[1][2][3] was a French composer and conductor. Jarre is best known for his film scores, particularly for his collaborations with film director David Lean composing all of his films from to Jarre received numerous accolades including three Academy Awards, three BAFTA Awards, four Golden Globes, and a Grammy Award.
Jarre won three Academy Awards for Best Original Score for the David Lean films Lawrence of Arabia (), Doctor Zhivago (), and A Passage to India (). He was Oscar-nominated for Sundays and Cybèle (), The Message (), Witness (), Gorillas in the Mist (), and Ghost (). Notable scores also include Eyes Without a Face (), The Longest Day (), The Train (), The Collector (), Grand Prix (), The Man Who Would Be King (), The Year of Living Dangerously (), Fatal Attraction (), and Dead Poets Society (). He worked with such directors as Alfred Hitchcock, Elia Kazan, John H
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Maurice-Alexis Jarre (13 September – 28 March ) was a French film composer and conductor.
His father was André Jarre, co-inventor of the mixing desk. He was described by the Los Angeles Times as "one of the giants of 20th century film music". He frequently collaborated with David Lean and Peter Weir.
He was the father of electronic musician Jean-Michel Jarre.
Films scored by Maurice Jarre include:
TV productions scored by Maurice Jarre include:
Tropes associated with this composer:
- Associated Composer: For David Lean and Peter Weir.
- Creepy Circus Music: The opening theme from Eyes Without a Face is an eerie, fairground-like waltz.
- Electronic Music: Many of Jarre's scores starting in the s are either rendered electronically (Dreamscape, Witness, No Way Out) or feature a combination of electronic and orchestral elements (Enemy Mine, Ghost, Jacob's Ladder). When some accused him of switching to a more synthesized sound because it was cheaper and easier to produce, Jarre pointed out that working with synthesizers was just as laborious, time-consuming, and expensive as working with an orchestra, if not more so.