Post by niniane on Feb 17, 2009 10:40:51 GMT 1
cinefantastiqueonline.com/2009/02/16/the-score-2008%E2%80%99s-most-notable-genre-soundtracks/
Napokon da netko prepozna kvalitetu soundtracka IWTB
Kaže u članku:
Mark Snow’s expressive revisitation to THE X-FILES: I WANT TO BELIEVE follows in the footsteps of the television series and the first X-FILES movie, FIGHT THE FUTURE. The score carries on the mystique of mysterioso and melody that characterized his score for the show’s nine seasons, expanded, as with FIGHT THE FUTURE, into the larger dynamic of the big screen, although this new score comprises not so much the brooding mysteriosos and spooky atmospheres than Snow perfected on TV, but the more melodic and passionate material that reorients the story towards the characters and their perspective. The score contains some of Snow’s finest and most poignant violin writing, intoned over a high female choir and vocal soloist, which humanizes the events of the story and reiterates the essence of THE X-FILES as being a story about people and their interactions – reflecting here a very warm, positive, and humanitarian aspect, while much of the score in its darker moments is dealing with less favorable interactions. Snow proffers a couple of very subtle references to his original X-FILES TV theme, its melody played very slowly and deliberately by strings, evoking a mysterious atmosphere pregnant with discovery and revelation. A number of very interesting textural elements are inserted into the musical depth to give it a heightened degree of interesting musical grain as the score progresses. In the end, Snow provides the film’s conclusion with a very poignant and warmly reassuring denouement, ending on a final musical suggestion of the familiar X-Files TV theme, which resolves the score as if with a gentle wink toward the show’s devoted audience.
Napokon da netko prepozna kvalitetu soundtracka IWTB
Kaže u članku:
Mark Snow’s expressive revisitation to THE X-FILES: I WANT TO BELIEVE follows in the footsteps of the television series and the first X-FILES movie, FIGHT THE FUTURE. The score carries on the mystique of mysterioso and melody that characterized his score for the show’s nine seasons, expanded, as with FIGHT THE FUTURE, into the larger dynamic of the big screen, although this new score comprises not so much the brooding mysteriosos and spooky atmospheres than Snow perfected on TV, but the more melodic and passionate material that reorients the story towards the characters and their perspective. The score contains some of Snow’s finest and most poignant violin writing, intoned over a high female choir and vocal soloist, which humanizes the events of the story and reiterates the essence of THE X-FILES as being a story about people and their interactions – reflecting here a very warm, positive, and humanitarian aspect, while much of the score in its darker moments is dealing with less favorable interactions. Snow proffers a couple of very subtle references to his original X-FILES TV theme, its melody played very slowly and deliberately by strings, evoking a mysterious atmosphere pregnant with discovery and revelation. A number of very interesting textural elements are inserted into the musical depth to give it a heightened degree of interesting musical grain as the score progresses. In the end, Snow provides the film’s conclusion with a very poignant and warmly reassuring denouement, ending on a final musical suggestion of the familiar X-Files TV theme, which resolves the score as if with a gentle wink toward the show’s devoted audience.