iTunes (U.S.)
eBay (U.S.)
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
     1. Halloween
    2. Venom
   3. House With a Clock/Walls
  4. The Nun
 5. Crazy Rich Asians
6. The Meg
         1. Solo: A Star Wars Story
        2. Batman
       3. Jurassic World: Kingdom
      4. The Predator
     5. Edward Scissorhands
    6. Mission: Impossible - Fallout
   7. Christopher Robin
  8. Apollo 13
 9. Ant-Man and the Wasp
10. The Equalizer 2
Home Page
Menu Options ▼
Comments about the soundtrack for Gravity (Steven Price)
Louder, louder, louder...and SILENCE

Simon J
<Send E-Mail>

  Responses to this Comment:
Edmund Meinerts
Louder, louder, louder...and SILENCE   Tuesday, January 21, 2014 (1:19 p.m.) 

Interesting the writer hated the "building [of a tone] up to a frenzy then cutting it off instantly", calling the technique 'unacceptable'. In the film, I felt it was one of the more memorable and effective aspects of the soundtrack. It evoked the desolate loneliness of space when the main title reached maximum volume before cutting to the first image of Earth and hitting silence instantly. Later, I also loved the way falling from 'maximum' to 'nothing' evoked 'danger' to 'safety' as Sandra Bullock's character was running out of air, then closed herself into the safety of the craft as the scene cut the same instant as the underscore. It was also cool the way during this 'frenzy' motif the increase in volume was always matched by an increase in *pitch*, evocative of an aircraft taking off, reminding me of my own slight fear of flying and emphasising the theme of technology...and our fear of it's failure.

Of course I love developed motifs and complex harmonies in scores. But this is first and foremost a survival thriller: what's wrong with the odd effective musical idea that serves no purpose other than to generate suspense and unnerve the audience? If it's a lazy cliche, can the writer identify many other films where this technique is used quite so effectively?

Great site by the way: the *only* film soundtracks reviews of this calibre anywhere on the web.

Post Full Response         Edit Post         Threaded display

Edmund Meinerts
Profile Picture
  In Response to:
Simon J
Re: Louder, louder, louder...and SILENCE   Wednesday, January 22, 2014 (7:23 a.m.) 

I thought it was reasonably effective in film, but Christian is right; it's obnoxious as all hell on album, especially considering Price whips it out every five minutes or so.

In general, though, I found myself at a bit of a paradox with this score; the parts I thought worked best in film were the most difficult to stomach on album, whereas the parts I really loved on album (i.e. the last three cues) I thought were rather over-the-top in context.

Post Full Response         Edit Post         Threaded display

Copyright © 1998-2018, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.