“Have you ever heard the expression, ‘the simplest answer is often the correct one’?”
“Actually, I’ve never found that to be true.”
The final lines from the Gone Girl trailer are exceptionally eerie and disconcerting. In 22 words, I believe the two characters speaking offscreen have provided the sonic philosophy that guides Atticus Ross and Trent Reznor‘s score for David Fincher’s upcoming adaptation of Gillian Flynn’s missing-person thriller: the outright rejection of the principle guiding Occam’s razor means cracking a hairline fracture down a story’s narrative and letting in a uncertain dose of chaos.
“The Way He Looks At Me”–a very deceptively simple song title to describe the nuance of the intentions or obfuscated emotions behind a glance–is the musical equivalent of shattered mirror still intact enough to resemble its former shape. Reznor and Atticus’s piece is a swirling, brooding, foaming mess of noise–there is one whiny track that sounds like the power brush at the dentist’s office–and creepy human-esque wheezes. All these parts separately would only imply a sense of disquietude, but each shard, pieced together, sounds like an insidious, monolithic storm.
The first time Atticus Ross and Trent Reznor worked with David Fincher on a film, they clinched a Oscar for Best Original Score. If these murky, gurgling electronics of are any indication, I believe this duo will be in contention once again.
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