Charlie Clouser

Charlie Clouser is a multi-instrumentalist and composer for film, television,

and games who lives in Los Angeles.
Formerly the keyboardist in the band nine inch nails, he has remixed and
collaborated with artists as varied as David Bowie, Jamiroquai, Killing Joke,
Atari Teenage Riot, and Rob Zombie.
With over two hundred hours of television underscore to his credit, Charlie's
scores to the CBS series "Numbers" and the NBC series "Las Vegas" spanned
a wide range of styles, from ticking-clock hostage dramas and high-energy
car chases to comedic casino capers and delicate heartbreak.
His scores for all seven films in the "SAW" series combined brutal electronics
and homemade bowed metal instruments with tortured orchestral washes and
became landmarks in industrial-strength horror. His scores for "Dead Silence",
"Death Sentence", "The Stepfather", "Resident Evil: Extinction", "The
Collection" and other films expanded upon these ideas and produced dozens
of memorable themes, terrifying ambiences, and tension-filled rhythmic
climaxes.

The recipient of ten BMI Film & TV Music awards, Charlie has also received
ten platinum and gold record awards for his work with nine inch nails, White
Zombie, and others

Bernard Herrmann
The man behind the low woodwinds that open Citizen
Kane (1941), the shrieking violins of Psycho (1960),
and the plaintive saxophone of Taxi Driver (1976) was
one of the most original and distinctive composers
ever to work in film.
He started early, winning a composition prize at the
age of 13 and founding his own orchestra at the age of
20.
After writing scores for Orson Welles's radio shows in
the 1930s (including the notorious 1938 "The War of
the Worlds" broadcast), he was the obvious choice to
score Welles's film debut, Citizen Kane (1941), and,
subsequently, The Magnificent Ambersons (1942).
Herrmann was a prolific film composer, producing
some of his most memorable work for Alfred Hitchcock,
for whom he wrote nine scores. A notorious
perfectionist and demanding (he once said that most
directors didn't have a clue about music, and he
blithely ignored their instructions--like Hitchcock's
suggestion that Psycho (1960) have a jazz score and
no music in the shower scene).

He ended his partnership with Hitchcock after the latter

rejected his score for Torn Curtain (1966) on studio
advice.
He was also an early experimenter in the sounds used
in film scores, most famously The Day the Earth Stood
Still (1951), scored for two theremins, pianos, and a
horn section; and was a consultant on the electronic
sounds created by Oskar Sala on the mixtrautonium for
The Birds (1963).
His last score was for Martin Scorsese's Taxi Driver
(1976) and died just hours after recording it. He also
wrote an opera, "Wuthering Heights", and a cantata,
"Moby Dick".

Bernard Herrmann
Not one of Herrmann's scores
for Alfred Hitchcock was
nominated for an Academy
Award. However, his scores
for Psycho (1960) and Vertigo
(1958) were ranked #4 and
#12 by the American Film
Institute for their list of the
top 25 film scores in
American cinema.

https://www.youtube.com/watch?v=N_rTGssTRxg