[Thor Joachim Haga]

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 😊.

This reminds me — I remember many years ago, you and I had a very different opinion of SAVING PRIVATE RYAN. Of course, it has themes, but it’s rather static and slow-developing in nature. I didn’t like that as a restless youngster, while you recognized its more subtle details. Well, these 20+ years later, I can see more clearly what you saw, and now love it. Don’t know how that relates to the discussion at hand, but I just thought of that.