Editing Bernard Herrmann (section)

===Influences and legacy===
The works of Herrmann are widely studied, imitated and performed to this very day. His work has left a profound influence on composers of film music that followed him, the most notable being [[John Williams]],<ref>{{Cite web|url=https://www.newyorker.com/culture/persons-of-interest/the-force-is-still-strong-with-john-williams|title = The Force is Still Strong with John Williams|website=Newyorker.com|date = 21 July 2020}}</ref> [[Elmer Bernstein]],<ref>{{Cite web|url=http://www.bernardherrmann.org/articles/interview-bernstein/|title=Talk on the Wild Side – Elmer Bernstein remembers his friend Bernard Herrmann|website=Bernardherrmann.org|access-date=11 September 2021}}</ref> [[Jerry Goldsmith]],<ref>{{Cite web|url=http://www.bernardherrmann.org/articles/event-sevilla_1998/|title = Goldsmith in Sevilla – the Bernard Herrmann Society|website=Bernardherrmann.org}}</ref><ref>{{Cite news |url=https://www.washingtonpost.com/entertainment/music/daring-and-original-bernard-herrmann-changed-movie-music/2011/06/21/AGG0YXjH_story.html |title=Daring and original, Bernard Herrmann changed movie music|newspaper=[[The Washington Post]] |access-date=2021-04-24 |archive-date=2021-01-29 |archive-url=https://web.archive.org/web/20210129121939/https://www.washingtonpost.com/entertainment/music/daring-and-original-bernard-herrmann-changed-movie-music/2011/06/21/AGG0YXjH_story.html |url-status=dead }}</ref> [[Howard Shore]], [[Lalo Schifrin]],<ref>{{Cite web|url=https://www.yourclassical.org/episode/2020/06/21/lalo-schifrin|title = Lalo Schifrin|website=Yourclassical.org| date=21 June 2020 }}</ref> [[James Horner]],<ref>{{Cite web|url=http://jameshorner-filmmusic.com/conversation-james-horner/|title = Conversation with James Horner|website=Jameshorner-filmmusic.com|date = 4 December 2014}}</ref> [[Carter Burwell]]<ref>{{Cite web|url=https://www.popmatters.com/carter-burwell-interview-2637556039.html|title = Film Composer Carter Burwell Provides the Missing Link to Chris Butler's 'Missing Link'|website=Popmatters.com| date=23 May 2019 }}</ref> and others. [[Stephen Sondheim]] found Herrmann to be a primary influence after seeing the film ''[[Hangover Square]]''.<ref>{{Cite web|url=http://www.bernardherrmann.org/articles/blog-herrmann100/2/|title = The Classic Film Scores of Bernard Herrmann – the Bernard Herrmann Society|website=Bernardherrmann.org}}</ref>

Popular film composer [[Danny Elfman]] counts Herrmann as his biggest influence, and has said hearing Herrmann's score to ''The Day the Earth Stood Still'' when he was a child was the first time he realized the powerful contribution a composer makes to the movies.<ref>{{Cite web|url=https://www.hollywoodreporter.com/news/composers-talk-film-scores-83073|title=Composers talk film scores|date=April 28, 2009|website=The Hollywood Reporter|language=en|access-date=October 20, 2019}}</ref> [[Pasticcio|Pastiche]] of Herrmann's music can be heard in Elfman's score for ''[[Pee-wee's Big Adventure|Pee-Wee's Big Adventure]],'' specifically in the cues "Stolen Bike" and "Clown Dream", which reference Herrmann's "The Murder" from ''Psycho'' and "The Duel With the Skeleton" from ''[[The 7th Voyage of Sinbad|7th Voyage of Sinbad]]'' respectively.<ref>{{Cite web|url=https://www.filmtracks.com/titles/pee_wee.html|title=Editorial Reviews: Pee-wee's Big Adventure|author=<!--Not stated-->|date=May 26, 2011|website=[[Filmtracks]]|access-date=October 23, 2019|quote=...'Stolen Bike' is perhaps the clearest emulation of Herrmann's fearful tone from Psycho to ever exist (until Elfman ironically re-recorded the classic score in full over a decade later for the remake).}}</ref><ref>{{Cite web|url=https://fanfarearchive.com/articles/atop/13_2/1320030.aa_Danny_Elfman_Wunderkind_Filmmusic.html|title=Danny Elfman: Wunderkind of Filmmusic – A Profile|date=Nov–Dec 1989|format=subscription|access-date=September 25, 2019|quote=As for the Herrmann touch, Elfman was able to draw from that reservoir in some of the film's more inspires dream sequences. 'There was some strange and wonderful music of Herrmann's that influenced me, in particular, Jason and the Argonauts, The Seventh Voyage of Sinbad, and Mysterious Island.'}} [http://www.boingo.org/articles/FanfareArticle.html Alt URL]</ref> The prelude for Elfman's main ''[[Batman (1989 film)|Batman]]'' theme references Herrmann's "Mountain Top / Sunrise" from ''Journey to the Center of the Earth'', and the [[Joker (character)|Joker]] character's "fate motif" heard throughout the score is inspired by Herrmann's ''Vertigo.''<ref>{{Cite web|url=https://www.filmtracks.com/titles/batman.html|title=Editorial Review: Batman|author=<!--Not stated-->|date=August 29, 1997|website=[[Filmtracks]]|access-date=October 23, 2019}}</ref><ref>{{Cite podcast|url=http://www.artofthescore.com.au/podcast/2017/7/23/episode-10-batman|title=Episode 10: Batman|website=Art of the Score|date=July 23, 2017|time=1:01:30|access-date=October 23, 2019}}</ref> More integral homage can be heard in Elfman's later scores for ''[[Mars Attacks!]]'' and ''[[Hitchcock (film)|Hitchcock]],'' the latter based on Hitchcock's creation of ''Psycho,'' as well as the "Blue Strings" movement of Elfman's first concert work ''[[Serenada Schizophrana]]''.

In addition to Elfman, fellow film composers [[Richard Band]], [[Graeme Revell]], [[Christopher Young]], [[Alexandre Desplat]] and [[Brian Tyler]] consider Herrmann to be a major inspiration. In 1985, [[Richard Band]]'s opening theme to ''[[Re-Animator]]'' borrows heavily from Herrmann's opening score to ''Psycho''. In 1990, [[Graeme Revell]] had adapted Herrmann's music from ''Psycho'' for its television sequel-prequel ''[[Psycho IV: The Beginning]]''. Revell's early orchestral music during the early nineties, such as ''[[Child's Play 2]]'' (which its music score being reminiscent of Herrmann's scores to the 1973 film ''[[Sisters (1972 film)|Sisters]]'', due to the synthesizers incorporated in the chilling parts of the orchestral score) as well as the 1963 ''The Twilight Zone'' episode "[[Living Doll (The Twilight Zone)|Living Doll]]" (which inspired the ''Child's Play'' franchise), were very similar to Herrmann's work. Also, Revell's score for the video game ''[[Call of Duty 2]]'' was reminiscent of Herrmann's rare WWII music scores such as ''[[The Naked and the Dead (film)|The Naked and the Dead]]'' and ''[[Battle of Neretva (film)|Battle of Neretva]]''. Young, who was a [[jazz drummer]] at first, listened to Herrmann's works which convinced him to be a film composer. Tyler's score for [[Bill Paxton]]'s film ''[[Frailty (2001 film)|Frailty]]'' was influenced by Herrmann's film music.

Sir [[George Martin]], best known for producing and often adding orchestration to [[the Beatles]] music, cites Herrmann as an influence in his own work, particularly in Martin's scoring of the Beatles' song "[[Eleanor Rigby]]". Martin later expanded on this as an extended suite for McCartney's 1984 film ''[[Give My Regards to Broad Street (film)|Give My Regards to Broad Street]]'', which features a very recognizable homage to Herrmann's score for ''Psycho''.

Avant-garde composer/saxophonist/producer [[John Zorn]], in the biographical film ''[[A Bookshelf on Top of the Sky: 12 Stories About John Zorn|A Bookshelf on Top of the Sky]]'', cited Bernard Herrmann as one of his favorite composers and a major influence.

In addition to adapting and expanding the original score from ''[[Cape Fear (1962 film)|Cape Fear]]'' for the [[Martin Scorsese]] remake, [[Elmer Bernstein]] recorded Herrmann's score for ''[[The Ghost and Mrs. Muir]]'', released in 1975 on the Varèse Sarabande label and later reissued on CD in the 1990s.

[[David Thomson (film critic)|David Thomson]] calls him the greatest film composer, writing: "Herrmann knew how lovely the dark should be, and he was at his best in rites of dismay, dark dreams, introspection, and the gloomy romance of loneliness. No one else would have dared or known to make the score for ''Taxi Driver'' such a lament for impossible love... Yet the score for ''Taxi Driver'' is universally cinematic: it speaks to sitting in the dark, full of dread and desire, watching."<ref>{{Cite book |last=Thomson |first=David |title=[[The New Biographical Dictionary of Film]] |edition=Fifth |pages=442}}</ref>