Thread:Shanethefilmmaker/@comment-397235-20140904033414/@comment-397235-20141216013849

Blade Runner...great film. It amuses me on some level because it's based on a novel, Do Androids Dream of Electric Sheep?; the Japanese title for the episode of the Pokemon anime that introduced Magnemite and Magneton is Do Coil Dream of Electric Mice? (Coil being Magnemite's rather bland Japanese name).

I like it, but I don't like it at the same time. I've never been sold on the synthesizer as a substitute for an orchestra (odd, since I enjoy Ko Otani and Hans Zimmer, who both use them fairly extensively), and it's also a bit repetitive for my taste (odd since I also enjoy Akira Ifukube, who is the master of repetition).

As for the other, it's not bad. I've never seen Twin Peaks though I really want to.

I guess it depends on how I want to handle the show. At its core, Another is more of a suspense/thriller than pure horror, though it does have some elements of fantasy thrown in for good measure.

Otani went more toward the calm yet creepy approach, most notably in every single one of Mei's scenes. However, the cues for Yumi attacking Kouichi and Mei and falling to her death and the theme that plays as the boys try to save Junta as well as when Tomohiko is revealed to be a killer are much closer to his more driving, hopeless, brutal, and despair filled pieces, as he did for Gundam and Gamera.

The score for the film is honestly forgettable; there were a couple cues I liked but having only watched the movie start to finish once I honestly can't remember them.

Still, for me I'd take a different approach. Being written entirely in first person, the novel lends itself best to focusing on Kouichi; the manga uses this same track, as do the film and anime to a lesser extent. However, I prefer to have a large cast and multiple PoVs, so I'd lean more toward the suspense/mystery aspect of the series, rather than going full, bombastic horror.

There's a lot of tragedy and sadness to be had here, as well as a lot of savagery and selfishness, but at the same time, there's also heroism and bravery to be found in unexpected places. So I'd want something that can be by turns low key and noir-ish, or sad, while at the same time appropriately triumphant and driving. I'm sure everyone feels this way about whatever they're working on, but there are enough different emotions to be played with I'd want a composer capable of driving that home on screen. A great film can fall apart if it has a horrible score (though not as much as a bad film can be; go watch The Mist if you don't believe me).