[Nils Jacob Holt Hanssen]

Orchestral scores with big, brassy themes was definitely what got me into film music in the first place, but that isn’t really that important anymore. Sure, I still can enjoy a big orchestral score, but it has to be done really well to hold my attention these days. So yeah, I’ve gradually been drawn to quieter and more textural, ambient and moody stuff, and recognizable themes are no longer a requirement. But of course, this also has to be done right. Just some dude hitting some buttons or running a program on his synth won’t cut it 😊.

I have no problem with dissonant or atonal stuff either – I often found them difficult to listen to when I was younger, but now, if done right, instead of finding them disconcerting, they just «tickle the ear» and can be very enjoyable.

Some examples of ambient, textural scores I’ve enjoyed a lot are APOLLO: ATMOSPHERES AND SOUNDTRACKS (Brian Eno), SOLARIS (Cliff Martinez) and BLADE RUNNER (Vangelis). (BLADE RUNNER does have some themes, though)