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Composing scores to movie sequels is an uneasy task. How does a music writer remain true to the series and sate the fans' appetites while putting his own stamp of individuality into the score? Most film series’ rely on one composer and his established themes from the first film to carry a thread of familiarity through the successive series.
But there are instances, like the Twilight film saga, where the producers want to take the sonic energy in a different direction. This does not often happen as early as “Film 2,” especially in popular film franchises, but it is not uncommon. What is unusual is when a composer completely disregards the established themes from the initial film and pulls out a new canvas, making what would be a sequel into a brand new experience.
Carter Burwell’s score for 2008’s Twilight amplified the torrent of teenage emotions and social anxieties. It was actually a very simple, earthy score, which involved less orchestration and more traditional rock band instrumentation – drums, guitars, synthesizers, and ambient female vocalizations. Almost as if he were hearkening the Kevin Williamson aesthetic. The way Burwell coordinated his score, it became easily relatable to the film’s target audience.
The darker elements deftly rode a line between drama and horror, while refusing to ever plunge headlong into terror. “Humans are Predators Too” is a perfect example of this juxtaposition. Taken out of context of the film, Twilight: The Score sounded like a very dark, ambient post-rock album – something that would probably make Brian Eno proud. It was a very dense, ominous score that weighed heavily on your mind and soul as you listen to it.
However, right from the intro track to New Moon, it is immediately apparent that Desplat is going in a different direction than Burwell, which is expected from such a renowned talent. Desplat, having a greater range of instruments at his disposal, transforms the Twilight saga into a luxurious, ballroom-styled epic – using precise instrumentation to represent characters, invoke particular emotions, and literally place you into this fantasy world. It is really his way of showing that the Twilight realm is much bigger than Bella’s and Edward’s immediate situation.
“New Moon” is a fantastic opener, because it practically carries you to this other world, while offering hints at what to expect throughout the proceeding experience. As standard fare for Desplat involves heavily-stringed emotional outpouring, New Moon is no exception. However, he injects a serpentine quality that recalls classic vampire films from previous eras. You can definitely hear echoes of Elliot Goldenthal’s Interview with the Vampire and Wojciech Kilar’s Bram Stoker’s Dracula. Even flavors of John Williams’ Dracula score from 1979 add inspirational texture to Desplat’s work. Click here to read more
Source: TheExaminer
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