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[quote="Nick Zwar"] You got a point concerning one cue, but not the entire score.
It's not my intent to play Devil's advocate, but I'm more with kipling71 and don't really hear how your assessment can be applied to Morricone's entire score. The Carpenter style you're referring to can be detected in one single cue: "Humanity Part II". (Which features prominently in the movie.) This is a minimalist synth cue and is therefore not unlike Carpenter's own sound. Granted. But that's it. What other cues are supposedly sounding like Carpenter? Not even "Eternity", which is another synthesizer based cue with repeating pattern.
The rest of the score is mostly orchestral (which isn't typical for Carpenter at all) and it as well as even the other synth parts sound very much like Morricone to my ears.[/quote]
It was not my intent to analyze Morricone's score to THE THING. Rather, I was only bringing attention to it as a starting point for discussion. My solo observation was that his effort on that score was different enough from what we've heard from him before, that had we not know it was him, we might not have guessed that he had written it.
Also, I should make mention of differentiating between a composer breaking away from their tried and true voice, verses their evolving style. I always have marveled at composers like Mychael Danna and Michael Convertino, who seemingly had built their careers doing electronic, synth based scores, who then later went on to do big orchestral stuff, the likes of which didn't seem to show in their earlier works. Academically speaking, both composers mentioned are very accomplished, so their understanding of music isn't at question, but one can barely discern that THE HIDDEN and WRESTLING ERNEST HEMINGWAY were written by the same composer, or that RIDE WITH THE DEVIL and the new age cd release SKY were both done by Danna. Either way, both might be prime examples of evolving styles and/or just them breaking strides.
Regards,
- Oz
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