![]() ![]() “ (Malick declined to participate in this story). I love Terry.” “You know, you do love Terry,” agreed Howard, “no matter how elusive finishing the task can be - because it can be sometimes elusive. Howard recalled recently talking to his friend Hans Zimmer, who scored “The Thin Red Line” for Malick in 1998. It’s simply the price of admission to work with one of today’s eminent auteurs. For that very reason, Howard, the eight-time Oscar-nominated composer of “The Fugitive” and “The Village,” is ineligible for Oscar consideration. That mix of original music and older compositions doesn’t always pass muster with the academy’s music branch. “That sort of kaleidoscopic quality of music of the present, music of the past, many different styles, is integral, or just matches the general visual aesthetic of these films very well,” said Ross. ![]() Malick’s soundtracks are a kind of musical “free association,” in the words of Alex Ross, music critic of the New Yorker. But, as with all of the director’s films, it also features a collage of classical masterworks. “A Hidden Life,” his latest, is based on the true story of an Austrian farmer who refuses to pledge loyalty to Hitler, and the director tells it in the same elliptical, poetic style he’s been exploring since 1978’s “Days of Heaven.” It has an elegiac score by James Newton Howard, featuring violin solos by James Ehnes and a main theme that conjures the heartbreaking beauty of paradise lost. It’s a spiritual theme - a question - examined through motion and music. And the center of his films isn’t story, or dialogue, or character. His characters don’t stand still - they glide, they twirl, they run. Terrence Malick’s films are like dance pieces. ![]()
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