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The Death of the Classic Film Score
Movie music is better than it’s ever been — even if you can’t tell which instruments are being used.
Even the quieter domestic dramas vying less for box-office glory and more for Academy Awards acclaim feature music lush with classical detail, like Carter Burwell’s melancholy strings in Carol, giving twinkly lyricism to the emotional violence roiling beneath the characters’ skins. “I love to use music to bring tension but not to direct the audience’s emotions.” Rather than focusing on distinct plot points or emotional denouements, Bertelmann tasked himself with finding a sound for the Vatican writ large but one that didn’t repeat tropes we already know. For Veronica Fitzpatrick, an adjunct professor of modern culture and media at Brown University, the changes in composition date back to Clint Mansell’s work with the Kronos Quartet for Darren Aronofsky’s 2000 film, Requiem for a Dream.
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