I'm looking forward to that CELL film too Joan. I really enjoyed the novel, although I wasn't too sure about the ambiguous ending. What did you think of the ending? Don't know much about Marcelo Zarvos. Hope he can deliver good things.
I'm looking forward to that CELL film too Joan. I really enjoyed the novel, although I wasn't too sure about the ambiguous ending. What did you think of the ending? Don't know much about Marcelo Zarvos. Hope he can deliver good things.
I like Zarvos' music for the romantic drama ENOUGH SAID, but I know very little else of his work. I'm always skeptical to horror soundtracks (too many stingers and sneaking-around music for my taste), but ever so often something comes along that is more melody-driven ("delicious darkness", as I call it). Let's hope this is one.
For me it's SHAWSHANK. It's a wonder of a film score that made perfect use of Newman's talents. The movie aims to strike a balance between sentiment and starkness, which it more or less achieves thanks in no small part to Newman. Until the closing scenes he never allows the tone to tip too far in any one direction, and once it does it feels totally earned. And he very cleverly never signals Andy as the hero in musical terms, knowing the story is really about Red.
NEEDFUL THINGS is my favorite, and has come to be my favorite Patrick Doyle score, probably in part because it is so distinctive from the usual horror tropes of other SK scores, but mostly because I just dig it. But that's just personal taste.
My favorite main titles are Sukman's wonderful dies-irae-as-ostinato for the first SALEM'S LOT, and Kamen's chilly dead-of-winter titles for THE DEAD ZONE.
