I’ve noticed a few recent movies with electro-ish scores that feature some sort of pulse or buzz or building waves of raw sound. Not especially melodic, just a persistent, engulfing motif that swallows you up.
From *Upstream Color*, one of my favorite soundtrack moments in recent memory, “As If It Would Have A Universal And Memorable Ending”:
From *Gone Girl*, “Consummation”:
And recently in *Ex Machina*, there’s the last minute or so of “Hacking/Cutting”:
The last two especially remind me of the opening few seconds of Yeezus. I’m sure I’m missing some other good examples?
The 1989 Batman is the first time I remember hearing Prince’s music. So many good things in this movie. “Gentlemen! Let’s broaden our minds!”
A Synopsis of Tim Burton’s Batman Based Only on the Prince Soundtrack
I love narrative and how it exists and why it exists and how it’s meant to be used. You can come up with a paragraph full of some truth, something that’s universal, some exploration, and it can be really informative, but it’s likely to not be that interesting. But you can spin a story, you can tell a narrative, and you can infuse it with this stuff, and if you’ve done your job right, you haven’t just captured somebody’s attention long enough to take them on this journey, you’ve also figured out something about the exploration through the act of the story.
Says the guy who made one of the most interesting movies I’ve seen this year.
Sinking Into the World of ‘Upstream Color’ With Director Shane Carruth – Movies – BlackBook
Plenty of academic jargon, but I liked this look at the scoring for Terrence Malick’s movies over his career. And the idea that parts of The Tree of Life harken back to silent film mechanics (dominant score; voiceover ≈ dialogue intertitles) was interesting.
Malick’s Music of the Spheres: The Tree of Life
Blood on the Moog » CultureRamp. A good series on using synthesizers in violent movies. (via)