> What makes a great score isn't only that it should sound great on Oscar
> highlight reels, but also we should appreciate the Inception score for its
> simplicity while being able to evoke the right mood and feel of the film,
> and to me, Hans Zimmer's Inception does this flawlessly.

> Never before have I heard a score evoke a multitude of moods: the
> grandness of the Dark Knight, the tech minimalism of the Matrix, the
> intrigue of James Bond, the constructivism of John Coolidge Adams, and the
> peaceable future-noir moments of Bladerunner... all into one seamless
> soundtrack of just a few thematic lines.

> I put Nick Hooper's underappreciated Harry Potter & The Half Blood
> Prince in this same category. Just a few lines, but the moments fit so
> perfectly in the scene of the movie. (Slughorn's Confession comes to mind,
> so understated yet so impactful)

> I think we should all just step back a moment and not wonder about which
> tracks and themes sounds great compositionally in a conventional sense.
> This is film soundtrack composition, not music for the radio or concerts.
> I think on the subconscious level, we've got to at least appreciate the
> mood-evoking aspect of this industry. Just like Dom Cobb's dialogue in the
> movie about an idea being the most resilient virus, that is to me with
> Zimmer's work... I somehow keep playing it in my head over and over again
> and dreaming about it!

Subconsciously, I'm laughing at this.