Holger
Group: Members
Posts: 1506
Joined: Feb. 2003 |
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Posted: Mar. 27 2010, 20:23 |
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Quote (wiga @ Jan. 26 2010, 22:13) | Thomas Newman is one of my favourite composers and he can churn out up to four film scores a year, over 50 in all since the mid 80s. |
I haven't (consciously) heard any other score by that guy but the Wall-E score is easily my favourite soundtrack from recent years. There's some really original stuff going on there that I certainly haven't heard in Hollywood soundtracks before.
As for MotS - like Dirk Star said, the main difference between it and a film soundtrack is not so much style (in which it is really quite close) but intention. MotS was designed as an album from the start, it needed to keep the listener interested without any visual input. With film scores, the soundtrack album tends to be more of an afterthought. It can turn out great, but usually it only works for me if there is something more to it than the usual reiteration of Wagner, Holst, Grieg, and Orff clichés that most soundtracks are made up of. (For example, I liked the Matrix series soundtracks for their blend of orchestral, electronic, and "world" music, and more recently I've liked the above mentioned "Wall-E" for its diversity as well as portions of the "Planet Earth" documentary soundtrack and "G.I. Joe" which, like the Matrix soundtracks, combines orchestral and electronic elements, if not quite as succesfully.)
MotS doesn't really offer anything that couldn't potentially be in any Hollywood soundtrack, but it does offer something else - it is composed with the intention of creating a coherent piece of music, of working as an album, which is a luxury few, if any, film soundtrack can afford - I reckon there usually is neither time nor necessity for that.
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