That's cool! To be fair, a Fincher thriller sounds like a return to the sound they came to fame for, and I've been kinda enjoying their recent departure from that into other, brighter landscapes, but hey -- it's a great match, and I've dug most of what they've done for the director, so I'm all game for now.
I'm curious to know just what happened between Fincher and Howard Shore?
-Erik-
And Goldenthal? and Shire? and Desplat?
It's unbelievable to think now that all this talent worked with him and somehow he preferred Reznor & Ross. I guess it's because that way he can "control" the sound design of his films.
I'm curious to know just what happened between Fincher and Howard Shore?
-Erik-
And Goldenthal? and Shire? and Desplat?
It's unbelievable to think now that all this talent worked with him and somehow he preferred Reznor & Ross. I guess it's because that way he can "control" the sound design of his films.
He only worked with Shire and Desplat once each. He clearly wanted very specific sounds that they could deliver for Zodiac and Benjamin Button.
Reznor and Ross match his style perfectly. Now that he's found them, I can't see why he'd switch.
Dragon Tattoo is one of my favorite scores of the last 20 years. (I can't say the last decade any more, because it's now 11+ years old, yikes, time flies!)
That said, I do miss Howard Shore, both on Fincher's films, and just on big studio films in general.
I mean, nobody would want another Goldenthal/Fincher collaboration more than me (I consider ALIEN 3 both Fincher and Goldenthal's best effort), but nobody can deny the beautiful organic blend of Fincher's style and Reznor/Ross' music in the films they've done together. It seems like a match made in heaven.
I think the reason why Fincher continues working with Reznor and Ross is, well, he wants to. Very little rocket science was used in coming to this conclusion. He has been trying to push Reznor into scoring since the 90s (Fincher courted him for Fight Club).
nobody can deny the beautiful organic blend of Fincher's style and Reznor/Ross' music in the films they've done together. It seems like a match made in heaven.
I totally agree. The scores for The Social Network, The Girl with the Dragon Tattoo and Gone Girl fit them like a glove. I was surprised he didn't stray from them on Mank, but they seem perfect for this new action movie.
