While Interstellar heavily draws inspiration from films like 2001: A Space Odyssey in most departments, its soundtrack takes a much different approach. The grandiose adapted score featured in Stanley Kubrick’s classic space opera – inspiring the sound of Star Wars, the film attributed with bringing the post-romantic orchestra back to its place in film music supremacy – is here replaced by a minimalist approach, one much closer to Phillip Glass’ Koyaanisqatsi than to Kubrick’s masterpiece. The majestic yet often heavy-handed brass chords, virtuosic woodwind slurs, and the heart-pounding timpani, all of which are often associated with space sci-fi films thanks to 2001 and Star Wars, are nowhere to be heard...
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The world of film sound is a tricky one for non-sound people: Your brain will process everything that you hear, but you may not know why it is good or bad. And to a lesser extent, this also true with film scores…
I am here to help you out, and since it is that time of the year again, let’s start with films nominated for the Academy Awards. During the next two weeks, I will be writing reviews/analysis on four of the five films nominated:
- Interstellar (Hans Zimmer)
- The Imitation Game (Alexandre Desplat)
- The Grand Budapest Hotel (Alexandre Desplat)
- The Theory of Everything (Jóhann Jóhannsson) [EDIT: Being that the Academy Awards are over and this soundtrack did not get as much attention as the other ones nominated, I decided to leave it alone for the time being...