![]() The dramatic stakes are upper orchestrally where appropriate, whether it’s the Ares IV’s initial desperate blastoff to the safety of Mars orbit, or the crew’s even more desperate attempts to recover their crewmate against staggering odds. That’s the difference, both musically and thematically, between The Martian and Mars. At times playful, at times dense and technical-sounding, these sequences are the sound of hope and resourcefulness in a movie that many are praising for – somewhat unusually for Hollywood – getting a great deal of the science right. ![]() But here’s where The Martian differs from, say, the overriding bleakness of the later TV miniseries Mars: Gregson-Williams brings percolating synths into play, practically providing a soundtrack for the synapses firing in Watney’s head as he vows to “science the shit out of this” and then proceeds to do precisely that. Harry Gregson-Williams knows when to deploy his full orchestral resources and when to pare things back to a sparer sound fitting Mark Watney’s plight. The movie’s score (and this is an important distinction, as there are both score and “songtrack” albums from The Martian out there) is a triumph of tone. For the sake of clarification and brevity, it’s important to get one thing out of the way: The Martian is the best Mars movie anyone’s ever made, and its soundtrack is the best Mars music that’s even been made. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |