The 2020s have witnessed a significant evolution in the role of film scores, with composers increasingly crafting immersive soundscapes that not only complement the visuals but also enhance the narrative and emotional depth of the films. Soul, Oppenheimer, Dune, and All Quiet on the Western Front (2022), all of which won the Oscars for Best Score in the 2020s, serve as prime examples of how the intersection of music and imagery can generate a distinct and powerful cinematic experience. In each of these works, the score functions as more than a mere accompaniment; it becomes a vital element of the storytelling process, engaging audiences on a deeper level and amplifying the themes at the heart of each film. In this blog post, I will explore the specific soundtrack techniques utilized in these films, examining how each composer’s approach contributes to the overall impact of the narrative.
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The score of Soul effectively blends jazz, orchestral, and minimalist electronic elements to reflect the protagonist Joe Gardner’s journey, both in the real world and the afterlife. Jazz, as an expression of Joe’s love for the genre, is a key component of the score, with Jon Batiste contributing authentic jazz performances that highlight Joe’s passion and personal struggles. In contrast, Trent Reznor and Atticus Ross use ambient, minimalistic music to underscore the ethereal and reflective nature of the “Great Before,” where characters explore existential questions and the meaning of life. The score dynamically evolves to mirror Joe’s transformation, moving from structured jazz to more free-flowing, improvisational sounds, symbolizing his realization that life’s purpose extends beyond career success. Silence and space are also used strategically to emphasize pivotal emotional moments. Ultimately, the music’s shifts reflect the narrative’s emotional depth, with jazz acting as a character in itself, embodying themes of improvisation, freedom, and self-expression, and enhancing the film’s exploration of purpose, passion, and the soul’s journey (A Sound Effect, n.d.).
The score of Oppenheimer is a complex blend of traditional orchestral techniques and experimental sounds, creating an immersive atmosphere that mirrors the psychological and moral struggles of the protagonist. The minimalist motifs and dissonant harmonies, which build tension and unease, reflect Oppenheimer’s emotional turmoil and the ominous nature of his work on the atomic bomb. Goransson uses the orchestra as the backbone, with the harp, piano, and violin serving as the heartbeat of the score, while subtle leitmotifs evolve to represent characters and shifting thematic elements. The increasing tempo throughout the score parallels Oppenheimer’s mental instability, with his internal conflict intensifying as the Manhattan Project progresses.
In addition to these orchestral elements, the score integrates sound design and experimental sounds to heighten the sense of dread and tension. Industrial noises, like stomping feet and the rumbling of the bomb, become an integral part of the music, blurring the line between score and sound design. The percussive use of these sounds amplifies the impending disaster, while the use of synthesizers and non-traditional instrumentation adds an alien quality to the music, emphasizing the groundbreaking and terrifying nature of Oppenheimer’s work. Silence, or near silence, is also used strategically to create contrast and amplify moments of emotional weight, particularly in scenes leading up to the bomb’s detonation. Through these innovative techniques, Goransson crafts a score that not only supports the film’s narrative but deepens the emotional and psychological complexity of the story.
The score of Dune: Part One is not harmonically complicated, but instead features infinite sonic complexity, largely attributed to the sound designers. It employs new musical instruments, including large sculptures made of rusted metals that produce sound, giving the score a unique and gritty texture that complements the harsh desert landscape of Arrakis. The score is exotically synthesized, with vocals representing the female spirit, synonymously tied to Paul Atreides’ mother. Unlike Oppenheimer, there is no traditional orchestra; instead, the score relies heavily on soloists and the immense use of rock and roll, bringing a visceral energy to the film. The use of unconventional sound design and minimalism creates a distinctive atmosphere, where drones and repeating motifs echo the vast, inhospitable nature of the desert. The vocals add a mystical, ethereal quality, highlighting the spiritual and maternal forces that shape Paul’s journey. Additionally, there is an emphasis on textural, atmospheric sounds over melodic themes, allowing the music to mirror the film’s pacing and mood, with rising tension built through dissonance, low-end frequencies, and the occasional distortion. The score’s raw, experimental sounds blend futuristic elements with ancient themes, establishing a powerful, immersive audio landscape that supports the film’s epic, otherworldly narrative.
All Quiet on the Western Front (2022)
In the 2022 film All Quiet on the Western Front, composer Volker Bertelmann, known professionally as Hauschka, employed several innovative score techniques to create an immersive and emotionally impactful soundscape. In an interview with NPR’s All Songs Considered, Bertelmann shared insights into his creative process and the methods he used to convey the brutal realities of war.
One of the most prominent elements of the score is a three-note motif, which Bertelmann designed to reflect the mechanized and dehumanizing aspects of warfare. This motif, which appears throughout the film, serves as a thematic anchor, subtly recurring in different forms to maintain consistency and underscore the relentless nature of the conflict. Bertelmann also utilized distorted harmonium sounds, played on a century-old instrument once owned by his great-grandmother. By running the harmonium through distorted amplifiers, he created a raw, unsettling sound reminiscent of a modular synthesizer. This choice contributed to the film’s intense and “assaultive” atmosphere, which aligned with the director’s vision for the music.
In addition, Bertelmann incorporated snare drum patterns that mimic the unsettling rhythms of battle. Rather than relying on traditional marching band beats, the patterns he chose evoke the sounds of gunshots and explosions, adding a visceral layer to the soundtrack and enhancing the film’s depiction of war.
Finally, the score also features choral and string elements, which are particularly prominent in the film’s emotional and battlefield sequences. These elements serve as a contrast to the harsher, distorted sounds, providing a nuanced, emotional depth that balances the film’s intense atmosphere.
These techniques combined to form a distinctive, immersive score that not only complements the film’s visual style but also helps to convey its emotional core. The score’s impact was recognized with the Academy Award for Best Original Score.
In conclusion, the 2020s have marked a transformative era for film scores, where composers have pushed the boundaries of musical storytelling. By seamlessly intertwining sound and visuals, films like Soul, Oppenheimer, Dune, and All Quiet on the Western Front demonstrate the immense power of music in deepening emotional resonance and enhancing narrative complexity. The scores in these films are not mere background elements; they are essential characters in their own right, shaping the audience’s experience and enriching the overall cinematic journey. As filmmakers and composers continue to explore this dynamic relationship between sound and image, it is clear that the role of music in cinema will remain central to its ability to move and captivate audiences for years to come.
Richard Wu is a first year masters student studying piano performance at the Jacobs School of Music. This is his seventh semester at Media Services.
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