“I’ll follow you down” is a Sci-fi movie whose cover brings back a lot of memories. A grown up Haley Joes Osmet and a beautiful Gillian Anderson are looking at me and that’s years of movie and TV heaven for me right there. Osmet as a kid really amazed me and I can’t wait for agent Scully to come back next year. For now though they play a mother and son who have to cope with the father’s disappearance. With the help of the grandfather though they discover the father’s experiments with time travel which hold the keys to the mystery. Andrew Lockington wrote the score and I’ve already heard to enjoyable compositions from him this year. The score was conducted by Nicholas Dodd, a name I am very familiar with.
I have a strange sensation when I hear the opening cue “Chess”. It’s gentle and melodic and it makes me think of the happy end of a story rather than the beginning. There is a sprout of a piano theme in there and I find it again in “Tree whispers”. I like how this score is developing. The way the piano motifs echo actually remind me of “The X-Files” TV score. “Back of the drawer” confirms this and I am getting real Mark Snow flashbacks. This also means that “I will follow you down” has a bit of nostalgia appeal for me because of that piano motif which, coupled with Gillian Anderson’s presence send me back to my favorite TV years. How deep are those memories if I can pinpoint that “Princeton” sounds very much like the theme from the episode “Paper hearts”?
Let’s focus on Andrew Lockington though. He has created a dark and minimalistic mood for this score and I don’t have to mention again how it’s the kind of mood I am very familiar with. He doesn’t do very much else tough. This is the kind of music that needs the support of the movie to work very well. It seems incomplete and it doesn’t grab me on its own. I like the atmosphere it sets… I like the sound but, as was the case with “The X-Files” I would need the movie to fully enjoy and appreciate it. No, that’s not right. I am enjoying it, but in order to get back to it and listen to it again I will need more.
The score hears that, smile and goes about her business. She shows me “How we meet” and knows that I will change my mind. I do have my memories… I do have my imagination… I do have this wonderful music… I can build something from that. The way the piano is played… the gentle and silky touches of those black and white keys slowly conquer and charm me and with every not I forget the world outside and the real life and I fall into this piano induced fantasy world… the harp inserts only make more threads to keep me in. I give myself away to this dream and to this section of the score. From then on it’s smooth sailing until the end. This is how you write a piano score, a wonderful, melancholic and, above all, alive piano score. I can’t wait to hear what Andrew Lockington comes with next. Even if at the start of the score it sounded otherwise, here he channeled his inner Philipp Glass and he couldn’t go wrong.
Cue rating: 91 / 100
Total minutes of excellence: 26 / 49
Album excellence: 53%
How We Met
To Meet Einstein