The predominant use of Max Richter's On the Nature of Daylight during the beginning and ending of Arrival was the excuse given as to why Jóhann Jóhannsson's phenomenal score was ruled ineligible for the Academy Awards. I say that is a load of bullshit.
This score deserved a nomination, at the very least. Jóhannsson's compositions, utilizing human vocals in irregular and arrhythmic patterns, are breathtaking. The music drifts and swirls back and forth, in and around, a vibrant tapestry of emotion; invoking awe, menace, and the excitement of dawning understanding.
I think it is an incredible and beautiful piece of work.
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