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Posted: |
Feb 25, 2015 - 2:06 PM
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By: |
Howard L
(Member)
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I was a bit puzzled by the term too at first, but I think I get it now, sort of.
Seems like the aforementioned GATTACA fits the bill, right? I'm not a great fan of Nyman's incursions into minimalism, but I do like GATTACA very much. It's almost like a romantic John Barry score, but drained of its heart-on-sleeve emotion, so it ends up sounding kind of colder and more distant than Barry, but perhaps even more poignant in a way. Barry would often score the rapture, or longing, of romance... Nyman in GATTACA seems to evoke the tragedy of the absence of it.
What you have described sounds like what Herrmann did for Fahrenheit but in an opposite vein.
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Posted: |
Feb 26, 2015 - 12:34 AM
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By: |
Thor
(Member)
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I love solid romantic scores, but I'm still not sure what you mean by "romantic minimalism." I'm a bit confused and hope you'll give us more details. You mention Craig Armstrong, and when I think of his lovely romantic score for Love Actually, I'm not sure where "minimalism" fits in as it seems a full blown romantic score. Maybe I don't understand that word in relation to music, but I'm interested in learning.
Minimalism, shminimalism. I'll take your kind of romance any day:
http://filmscoremonthly.com/board/posts.cfm?threadID=13813&forumID=1&archive=1
That's nice too, no doubt, but sometimes you want melodies that are a LITTLE more veiled and a little less in-your-face, so that you can construct some of the romanticism on your own (instead of someone screming in your ear: "FEEL, DAMMIT! FEEL, FEEL, FEEL!").
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