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Point of Origin
(2002)
Album Cover Art
Composed, Performed, and Co-Produced by:

Co-Produced by:
Michael Gerhard
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LABEL & RELEASE DATE
La-La Land Records
(November 18th, 2003)
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ALBUM AVAILABILITY
Regular U.S. release.
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AWARDS
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you enjoy John Ottman's ability to take a minimal scoring budget and produce highly original concepts, including, in this case, a typewriter used to set rhythms and creative accents.

Avoid it... if the development of Ottman's suspense scores for psychological twists doesn't interest you unless a large performing ensemble is employed.
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EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #1,495
WRITTEN 1/3/04, REVISED 3/8/09
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Ottman
Ottman
Point of Origin: (John Ottman) The Ray Liota and John Leguizamo HBO film Point of Origin wasn't glorious in the reception it received at its debut in 2002, but its plot, inspired by true events, plays with the audience as it tells the story of an arsonist in Southern California who is setting retail stores on fire to satisfy his ego. Meanwhile, an accomplished fire investigator in the area is tracking the criminal, visualizing how the fires were started and giving his department a psychological profile of the arsonist. The detective writes about these experiences using a typewriter, and as he becomes more intertwined with the mental recreations of the arsonist's actions, the audience slowly learns that the arsonist and the detective are, of course, one and the same. Composer John Ottman would accept the assignment of Point of Origin at the request of his friend and associate Tom Sigel, director of the film and a fellow crew member on The Usual Suspects and Apt Pupil. Returning to the small screen in 2002 for the first time in many years, Ottman's feature film compositions had existed for projects all over the map. The concept of this small venture was intriguing enough for Ottman to snatch up its scoring duties with great anticipation of the psychological avenues that could be developed in the music. Ottman did as any smart composer should do in these circumstances: write separate themes and motifs for the arsonist and the detective and slowly integrate them over the course of the film into one identity. As the composer stated upon completing the score, Point of Origin came at a time when he was ready for another psychological score, and he does not disappoint with his smart choices.



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VIEWER RATINGS
122 TOTAL VOTES
Average: 3.12 Stars
***** 22 5 Stars
**** 32 4 Stars
*** 28 3 Stars
** 19 2 Stars
* 21 1 Stars
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Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
Total Time: 31:55
• 1. Thinking It (4:17)
• 2. Spying (2:58)
• 3. Family/Aaron's Activities (4:00)
• 4. Investigating/Print (1:33)
• 5. Speech/Rewind (2:21)
• 6. Tailed (1:55)
• 7. Firewatcher (1:55)
• 8. Hero (3:12)
• 9. Responsibilities/Stalking (2:07)
• 10. Resisting Arrest (0:49)
• 11. Feeding the Ego (3:43)
• 12. Aftermath (1:26)
• 13. John's Story (1:34)

Notes Icon
NOTES AND QUOTES
The insert includes detailed information about the score and film, including a note from Ottman himself. The spine of the album contains the error "Music by NJOHN OTTMAN"
Copyright © 2004-2017, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Point of Origin are Copyright © 2003, La-La Land Records and cannot be redistributed without the label's expressed written consent. Page created 1/3/04 and last updated 3/8/09.
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