Just saw this movie today and thought the score was pretty nice. It reminded me of Max Richter's Perfect Sense. Funny both movies are about the end of the human race in some way. Well after seeing the score wasn't released I though MovieScoreMedia would be a great label to get this one out. Guess what?
Credits • The Celestine Prophecy (Nuno Malo) – MovieScore Media, 2012 • The Entitled (Robert Duncan) – Pale Blue Soundtracks, 2012 • The Divide (Jean-Pierre Taieb) – Pale Blue Soundtracks, 2012 <<<<<<<<<<<<<<
"I am currently putting the final touches to Pale Blue Soundtracks’ upcoming release of Jean-Pierre Taïeb’s very intense and beautifully crafted score for the French sci-fi movie The Divide, directed by Xavier Gens. It is my first opportunity to work with the French composer who has crafted a very interesting, mesmerizing and atmospheric score – there are a lot of intense and deep electronic textures, but also beautiful and desolate themes for piano and cello, and also pop elements. It’s a pretty postmodern score in the way it freely combines stylistic elements – the score also has its share of dense string writing. I don’t think anyone would be offended if I compare the score to David Julyan’s stylish work for the Descent movies. I am doing the editing, sequencing and mastering of the release and also the artwork. Look for the release in digital stores shortly!"
I've started watching this movie, and so far the most memorable music sounds a lot like John Murphy. I seem to recall having the same feeling watching The Grey a few weeks ago. Do composers get residuals for temp track use?
