soundtrack
The Film Inquiry team gets together for a casual roundtable – this week we discuss our favorite film scores and soundtracks.
We spoke with Boots Riley about the 2012, 2018 and 2020 editions of the Sorry to Bother You Soundtracks, and touched on the synergy between music and film.
It would be unsurprising to see Making Waves used for educational purposes in film sound classes for years to come, but even your average film buff will enjoy it.
For this month’s Staff Inquiry we surveyed our writers to see which soundtracks really knocked their socks off. See if you agree with their choices.
The real power of scores is the intensity of feeling, the nostalgia of remembering, and (above all) the way it cements a film’s legacy.
Baby Driver is a joyous summer film, an indelible sugar rush that is further proof that Edgar Wright is the true saviour of popcorn cinema.
In the beginning, there was light. It moved, it danced, it enthralled, but in the end, it was just light. Even in the silent era, exhibitors recognized the value of sound, coming up with a wide array of live and pre-recorded solutions to the problem of representing reality with only one of our five senses (and drained of color at that).
Composers are an underrated yet invaluable aspect to the world of cinema. They have the ability and duty to evoke various emotions in the audience, causing excitement, nerves, tears and goosebumps, sometimes all at once. It takes great skill to match the images on the screen to a suitable audio, and one man is notoriously known for his breathtaking soundtracks that complement filmmakers’ work and enhance the cinematic experience.
Closely approaching Quentin Tarantino’s new film The Hateful Eight arises expectations not only because of the name he has created for himself, but also because we are aware of the repeating pattern of collaborators in his films. But this piece is not about the cast of the film nor about Tarantino’s specific style. It is about the collaborators behind the scene, specifically on his first time collaboration with Ennio Morricone as a composer of the film’s original soundtrack.
