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Thanks for posting, John. I know it is somewhat unfair or potentially misleading to pull out Google translations, but a couple of points caught my eye. First a complaint and correction on something Holkenborg says:
"In the 1980s, more people were experimenting with electronic music in film scores such as Wendy Carlos for Tron . But Vangelis went beyond all the others: he made something that sounded like a real orchestra with synthesizers. "
Um, no, not really, it was Wendy Carlos who did that, both to some degree in Tron and then more fully showcased on her album Digital Moonscapes: "On this pioneering album the full resources of a Symphony Orchestra are emulated with the uniquely powerful GDS and Synergy Digital Synthesizers. Predating samplers, and in many ways still superior to that now omnipresent technology...." http://www.wendycarlos.com/+dmci.html
On the other hand, I think Holkenborg's point below is very well-stated (and of course, it helps that I happen to agree with it, but it is not meant to dis movie music, I think, so much as to acknowledge its place in movies):
"I sometimes call movie music the poor man's classical music . Movie music is always a diluted version of music that lives. So you catch something really alive in the world, adds a lot of water and then it becomes something that works for the movie."
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