Point of Origin


La-La Land Records (826924101124)
映画 | 発売日: 14/10/2003 | 映画のリリース: 2002 | フォーマット: CD
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# トラック   期間
1.Thinking It4:18
2.Spying2:58
3.Family / Aaron's Activities4:01
4.Investigating / Print1:33
5.Speech / Rewind2:22
6.Tailed1:55
7.Firewatcher1:56
8.Hero3:13
9.Responsibilities / Stalking2:07
10.Resisting Arrest0:49
11.Feeding The Ego3:44
12.Aftermath1:26
13.John's Story1:34
 31:55
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Point of Origin - 05/10 - その改訂 Tom Daish, 提出された (英語)
Even if 'it's not TV, it's HBO,' it does seem strange that an actor of Ray Liotta's stature is starring in a TV movie, especially one that appears to be more like the crappy TV movies that gave the genre a bad name, rather than the quality TV features that are becoming the norm. Still, with such an illustrious star, there was obviously some intent towards real quality and that extends to the music. John Ottman might not be quite A list, but he's certainly close to promotion, especially after doing high profile films such as X-Men 2; even if the results weren't exactly ground breaking, his music worked just fine in the film. Perhaps it wouldn't be unreasonable to say that fairly standard, big budget films aren't his ideal territory, his filmography suggesting someone more suited to horror, quirky comedy or thrillers, but nothing too mainstream.

Point of Origin is a thriller about an arsonist, but the music is some way removed from Hans Zimmer's popular, if bombastic score to Backdraft. Ottman's main ploy is to use chord sequences that shift directly from major to minor. The changes have a strange, hypnotic feel, if not that of a thriller. In fact, were the opening cue scored for a big orchestra and performed with a little more swagger, it could have made a decent X-Men starter. It certainly has more personality than Ottman's real main theme for that score. Any score that lists the composer as the performer invariably sends a note of panic to my brain, but here the synthetic versions of real instruments are so well blended with the entirely synthetic sounds that it's hard to tell that it's all coming from a computer. Certainly, the budget limitations aren't obvious and there would be little overall improvement were some of the textures acoustic.

Despite my opening comments, Point of Origin is actually a somewhat unexceptional thriller score. It has some nice ideas and there aren't any dull moments (at half an hour, one would hope not), but neither does it show Ottman coming up with ideas and running with them. His chord progression is neat, but doesn't really go anywhere, neither turning toward edginess or compassion. There is certainly little in the way of effecting, genuine emotion and most of the quieter moments are suspenseful. Even the finale cue is somewhat anticlimactic. Point of Origin is the kind of score that is difficult to avoid damning with faint praise; for TV scoring, it's a good effort and does at least have some musical personality, which is rare on the small screen these days. However, when judged by big screen standards, it just doesn't quite make the grade, lacking variety or the kind of palpable nervous energy that great thriller scores need. Solid, if unremarkable.
Point of Origin - 02/10 - その改訂 Thomas-Jeremy Visser, 提出された (オランダの)
Point of Origin is een slechte TV film (soms uitgezonden als mini-serie), die het vasteland van Europa nooit heeft gehaald. John Ottman verzorgt de muziek.
Ottman is jong, maar loopt toch al een aantal jaren mee, en heeft goede scores afgeleverd als X-Men 2, Superman Returns, Kiss Kiss Bang Bang, Fantastic Four: Rise of the SIlver Surfer en zijn prachtige The Cable Guy. Deze lijst wordt in 2009 aangevuld met twee lang verwachte films, Superman: Man of Steel en Valkyrië.

Point of Drift is eigenlijk onder zijn ouvre. Ottman was dan ook totaal niet op dreef. Het stamt al uit 2002, deze serie, maar zijn score van X-Men 2 (ook 2002) laat zien waartoe hij in staat is. De muziek is totaal niet interessant, en je hoort een soort Basic Instinct kopie, en de score is bijna compleet verzorgd met Synthesizers. Dat Ottman daar fan van is wisten we al, maar hij weet ze normaal zoe goed te combineren met echte instrumenten (denk aan The Silver Surfer Theme), en kon dat hier nog niet. Het is erg jammer.

Dit was Ottman vroeger, nu is hij duidelijk gegroeid. Zijn hollywood scores zijn zeker niet slecht, en ik kijk er dan ook naar uit meer van hem te horen.
From John Ottman, the acclaimed composer of X2: X-MEN UNITED and THE USUAL SUSPECTS, comes the crackerjack score to the critically praised HBO Original Film, and current DVD release, POINT OF ORIGIN, starring Ray Liotta (Goodfellas, Identity) and John Leguizamo (Moulin Rouge). Exclusive Liner Notes include Film Notes and comments from Mr. Ottman. Track Listing.

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