It borrows heavily from a number of sources. The main theme is a thinly modified reworking of Korngold's Kings Row.
It's why movie music is a relatively mediocre artform. It's mostly reheated 19th/early 20th century cliches and borrowings with none of the fluency or genius of the originals.
People forget that being able to write for an orchestra isn't proof of genius. The bar is higher than that.
Ravel, Wagner, Debussy, Stravinsky, and Rachmaninov - and others - absolutely kill all of the Hollywood guys.
More interesting are recent TV scores that have been all-electronic and abstract. Chernobyl seems to have broken the trend into the mainstream, but I'm hearing examples on shows like The Mandalorian and Dr Who. They sound a lot fresher than the orchestral blobbery that's more usual, because they're more about evocative sound design than trad synth/sampler sounds.
Hacker Cinema
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It borrows heavily from a number of sources. The main theme is a thinly modified reworking of Korngold's Kings Row.
It's why movie music is a relatively mediocre artform. It's mostly reheated 19th/early 20th century cliches and borrowings with none of the fluency or genius of the originals.
People forget that being able to write for an orchestra isn't proof of genius. The bar is higher than that.
Ravel, Wagner, Debussy, Stravinsky, and Rachmaninov - and others - absolutely kill all of the Hollywood guys.
More interesting are recent TV scores that have been all-electronic and abstract. Chernobyl seems to have broken the trend into the mainstream, but I'm hearing examples on shows like The Mandalorian and Dr Who. They sound a lot fresher than the orchestral blobbery that's more usual, because they're more about evocative sound design than trad synth/sampler sounds.