Filmmaker | motetfilms.ca
So simple, and yet it almost totally eluded me on last viewing: Malick's main musical motifs here - Grieg's "Ases dod," Kilar's "Exodus," Part's "Silouan's Song" and Vaughn Williams' "Fantasia" - all naturally build to ecstatic resolutions through repetition and release; undulating waves of emotion that emerge not so much as a climaxes but as walls of sheer catharsis. Encountering each of these pieces in the context of a late Malick work invites eager anticipation - who couldn't after the…
Since Looper and Breaking Bad, I have struggled to put my finger on a deep sense of dissatisfaction inherent within Johnson's compositions involving actors, which are simultaneously brisk, clean, and efficient, and yet bereft of texture, detail, or a lively perspective. They are actually pretty blandly imagined; organized according to the most basic and brutish principals of dividing space between a face and whatever else happens to be around or behind it.
In a similar sense, Johnson's facility with said…