Jay

What film score theme/melody is going through your head right now?

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I had a phase like that, where there was so much shit going on in my life, that this score would constantly be looping on my iPod. And I never got bored of it.

I really love how prominent the overtones are during the first few minutes. Dat rich low brass and strings.

Oh yes, definitely! I'm kind of hoping we'll hear that kind of stuff in Interstellar, but with more organ!

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I had a phase like that, where there was so much shit going on in my life, that this score would constantly be looping on my iPod. And I never got bored of it.

I really love how prominent the overtones are during the first few minutes. Dat rich low brass and strings.

Oh yes, definitely! I'm kind of hoping we'll hear that kind of stuff in Interstellar, but with more organ!

In the EW article I mentioned the other day, it was stated that Nolan was actually the one to suggest that as part of the score. Something to do with it being a significant piece of "early" technology. Sounds like they're using the real thing too, and not the Zebra/Diva synth organs that he's used on a number of scores now. I wonder where they recorded it? Most likely a London church.

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and the Parting theme (Departure theme?)

Love that one. Always reminds of that awesome season 1 finale.

Yea, exactly. I started by listening to the Season 1 OST and got to Parting Words and just fell in love with the score all over again. Giacchino just freaking nailed the emotional stuff on that show...

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My favourite new theme of the trilogy might be Bilbo's Adventure. That or the A phrase of Tauriel and Kili....pity it doesn't get more appearances!

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Bumpin' the thread with "The Shuttle" from SpaceCamp.

"The Game Begins" from WarGames by Arthur Rubinstein. I absolutely love that score. It sounds so incredibly 80s.

Ditto. Great score.

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Story of Shen from Powell's Kung Fu Panda 2.

btw, have an early draft of the original score. Melody lines looks (and thus would sound) rather different in the first section.

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Hm. Well, they appear quite distinctly so I'm not considering them linked at all.


No... the second half is what I'm calling the main theme, yeah. But the first two minutes or so are different.

That's your psychosis speaking.

I'm the most grateful psychotic in history then.

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Hm. Well, they appear quite distinctly so I'm not considering them linked at all.

Right, just like Hedwig's theme's two phrases do at times. ;)

Assuming this is the best representation of what Zimmer wrote for Nolan on Day One, you can assume that both parts are parts of a whole idea he wrote for that father-daughter relationship. And this is what he refers to as the "main theme".

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Hm. Well, they appear quite distinctly so I'm not considering them linked at all.

Right, just like Hedwig's theme's two phrases do at times. ;)

Assuming this is the best representation of what Zimmer wrote for Nolan on Day One, you can assume that both parts are parts of a whole idea he wrote for that father-daughter relationship. And this is what he refers to as the "main theme".

Two independently complete musical ideas that appear only once in conjunction and elsewhere totally distinct in distinct situations isn't quite the same as the two phrases of Hedwig's theme, an obvious single melody... even if they were conceived as two parts of a musical/philosophical whole in this suite, they diverge in their actual use in the score. One embodies the core emotional theme of the film and drive of the main character, while the other takes on a less specific, generally dramatic role. In fact, the counterpoint to that one even takes on a life of its own.

Someone needs to do an analysis of this score or something.

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