The first score that comes to mind is nigh impossible to ignore Bernard Hermann’s last composition, his soundtrack for Scorsese’s masterpiece, Taxi Driver. The best soundtracks I’ve heard are the ones that that I don’t even remember hearing.Īh, but the question is to identify your favourite soundtrack or score, so perhaps I can disregard this obstruction. Great scores burrow under your skin, seep into your consciousness and shape your reaction to a film with a careful complement to the narrative and visuals. I take Matt Zoller Seitz’s point that when writing about film, talking about form is imperative, but I find myself so rarely consciously aware of a good score (while a terrible one is impossible to ignore). I feel ill-equipped to answer this question because, honestly, film soundtracks tend to escape my attention. My first contribution was found in the middle of a Writer’s Roundtable asking the question “ What is your favourite score/soundtrack and why?” The whole article is definitely recommended, with my colleagues producing some great responses, but my answer is included below: I’ve recently begun contributing to The Essential, a great new Australia film/music site.
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