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The best film music isn't the stuff you don't notice. And it's not the hum-along theme you can't get out of your head. For me, the best soundtrack music is when the music itself becomes a character in the film — neither in your face nor strictly subconscious. This dichotomized score from Hans Zimmer achieves the Shepard-Tone-like magic of being haunting and uplifting at the same time, all the while taking you on a journey, both familiar and strange. At its most western, the score seems almost familiar (like that mysterious Fifth Concerto by Richard Halley in Atlas Shrugged). At its most alien, The Thin Red Line is like the dream of some long forgotten god of the Pacific Rim.
This music has appeared in 1 blog entry.