[Thor Joachim Haga]

I have a really hard time coming up with an example here, because in most cases — even when I find the score choice unusual and odd — I can always twist my mind, and my interpretation, to make it fit. For example, the electronic score in IN THE NAME OF THE ROSE; obviously achronological, but fitting in perfectly with the chilly ambiance of the film. Or LADYHAWKE, one of my favourite scores that everybody likes to rag on. The drum kit/pop elements aren’t very widespread in it (much less than what people think), and they do – in fact – add appropriate energy to the riding and fighting scenes.

But I suppose I’ll think of an example if I think long enough.