Thaddi: The review of this Soundtrack was one of the first texts I ever wrote for this medium. I had no idea about the film, confined myself entirely to the music and soundtrack issues per se. Short sketches, the minimal modulations of set musical themes, etc. We have discussed this over and over again in this series. And within this very series, with "Prisoners" at the latest, we have arrived at Jóhann Jóhannsson's "soundtrack only" phase. Of course with a different quality. Jóhannsson had done film music before, but this score catapulted him perhaps for the first time really into Hollywood's attention. It is his first collaboration with Canadian director Denis Villeneuve. The latter - thanks in no small part to Jóhannsson's music - subsequently went through the directorial roof. And ultimately cost the composer his life. Cue "Blade Runner". But I'm getting ahead of myself. The film opened in US cinemas in September 2013, in Germany a month later. The soundtrack was released on 24 December of the same year. Tragic and beautiful at the same time. And I confess that I haven't listened to the music since my review. What a mistake! The "light" themes touch me more than ever. As I write this intro, it's 20 November 2022, it's snowing outside my window, the heater is banging, it's starting to get dark again, the windows are closed, the silence without music is almost unbearable. And here comes Jóhann with, at first glance, very simple mechanics. Light, dark, hopeful, grumbling. I haven't seen the film in its entirety until today. How are things going on your Subbass Adagio front, Kristoffer?
Kristoffer Cornils
Freier Journalist und Redakteur, Berlin
Kolumne