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I have to say, while the minimalist elements are definitely Philip Glass-inspired, I also hear some Mike Oldfield colors in there as well.
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I hear some “Tubular Bells” in several cues, but it's probably most obvious in “Coward” and the film edit of “No Time for Caution.”
I'm not saying this as a “zinger,” any more than bringing up Philip Glass would be; it's just that I feel that there is a certain overall aesthetic that is being referenced there.
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Posted: |
Dec 9, 2014 - 5:40 AM
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By: |
johnbijl
(Member)
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I finally saw the film. Twice, actually. And yesterday – I had a writing day – I spend my second time with the score.
First of all, I am overwhelmed by the film! The visuals are gorgeous, the emotion real and the story intriguing. My most poignant critique would be that those three element do not support each other. It seems like every part of the movie is telling it's own story. Like every section section of the orchestra is playing it's own theme, without ever coming to full counterpoint.
The same is true for the music. Yes, it is there to affect us as an audience, but at it's own pace. It is less 'on top of' the movie. Zimmer colors with a broader pencil than we're used to, however nuanced his palet may be. The best example I can give is during the 'No time for caution'-scene. The music doesn't follow the timings of the film, but is there to get involved with us anyway. In every other film the music would have changed when the lander docked with the damaged Endurance, but Zimmer takes it further.
That Interstellar in't your normal film score is really noticeable when you listen to the album. As I said earlier, Zimmer's modern film scores sound more like concept albums than film music. More in the like of what Vangelis, Kitaro or new age-artist of the Windham Hill-elk would compose. In fact, it is notable how much this music and way of composing relates to Mark Isham's (put on Nowhere To Run) or Patrick O'Hearn's White Sands.
However, it works. Better than it did in The Dark Knight Rises, The Last Samurai or The Thin Red Line. Interstellar is the latest but also best example of a newer breed of filmmaking. And writing filmscores. With more distance to the movie, it's dynamics and more of leaning on broader atmospheric canvas.
Perhaps it takes some getting used to. But when you've spend enough time with Blade Runner, Silk Road or, yes, Philip Glass, the step isn't that big.
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This is that rare film that I heard the cd before seeing it.
The only way this affected my viewing was I kept looking for the "docking cue"!
I am not being snarky when I say that the featurette on the blu-ray about recording the score - in a grand cathedral - is the most entertaining aspect of the film and dvd>.
Can Nolan direct a great film that doesn't feature Batman?
SO far the answer is no.
He seems obsessed with mind-games, puzzles, brain teasers in his other films (INCEPTION, PRESTIGE, the one with the guy who lost his memory)
Had he made a straight-ahead film about space exploration INTERSTELLAR would have come close to greatness. The tesseract scene was quite extraordinary and should have been the conclusion.
But it is too flawed to get a rating above B.
Zimmer comes through with a very fine score but not his best work
bruce
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I hear some “Tubular Bells” in several cues, but it's probably most obvious in “Coward” and the film edit of “No Time for Caution.”
I'm not saying this as a “zinger,” any more than bringing up Philip Glass would be; it's just that I feel that there is a certain overall aesthetic that is being referenced there.
The film also seems to be referencing other films.
The whole first section reminds one of Tarkovsky's SOLARIS
brm
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