Meet joe black ost 10 a frequent thing

Filmtracks: Meet Joe Black (Thomas Newman)

meet joe black ost 10 a frequent thing

Meet Joe Black - Thomas Newman. 5. A Frequent Thing - Thomas Newman Let's Face The Music And Dance - Thomas Newman. Meet Joe Black (Original Motion Picture Soundtrack) (CD, Repress) album cover · More Images 10, –Thomas Newman · A Frequent Thing, 11, –Thomas. Meet Joe Black soundtrack from , composed by Thomas Newman. Music from this album has been used in 4 trailer(s). A Frequent Thing Somewhere Over The Rainbow / What A Wonderful World (Israel.

Out of many current composers for film, Newman takes one of the more "classical" approaches to scoring.

Listen to Meet Joe Black now.

His music has a timelessness to it. The score for Meet Joe Black has these elements, and a few more.

meet joe black ost 10 a frequent thing

It also has many dark undertones that were not found lurking anywhere in Quilt or Women. Considering the story, this makes sense.

Meet Joe Black- Soundtrack details -

Pitt plays Death, come to roam among humans in the body of a newly deceased pro bono lawyer. He approaches Hopkins' character with a proposition: I give you an extension on life in return for you giving me a tour of your world. He chooses Hopkins for his success in life, and the wisdom that comes with it. Along the way, he just happens to fall head over heels with Claire Forlani, Hopkins' daughter in the film. Nothing good, of course, can come of flirting with death, and the story progresses from there.

Various Artists: Meet Joe Black - Music Streaming - Listen on Deezer

I would not say that the music is as consistent as some of Newman's past scores, but it is stirring. In addition to having some dark undertones, it is laced periodically with an almost mythical and magical feel.

Meet Joe Black - OST "Whisper of the thrill" - piano cover

Inspired by part of the plot of a movie, Death Takes a Holiday, the story poses the question of what would happen if Death spent a few weeks on Earth, enjoying the pleasures of humanity while granting an old man a reprieve from his inevitable heart attack.

The film deals mostly with the love affair that Death has while human, dragging the story to its own belated death after three seemingly endless hours of running time.

meet joe black ost 10 a frequent thing

Pacing was the primary problem with the film, with conversational cues taking forever to transpire, and while the film eventually goes through all the right emotional moves, it lacks the depth of character to enchant you.

One of the technical aspects of the film that was highly praised at the time was Thomas Newman's score, hailed as a success due mostly to a grand use of orchestral theme at the end of the picture.

  • A Frequent Thing
  • Meet Joe Black [Original Motion Picture Soundtrack]
  • Meet Joe Black

Newman had flirted on the outskirts of large scale romantic dramas for several years, often including a flourish or two of grand orchestral style in his scores for marginal films like Phenomenon and The Horse Whisperer. His consistently strong era of The Shawshank Redemption and Little Women had their own remarkable collection of cues each, but Newman's fans continued to wait for the composer to break loose from the restraints of either the period or the darkness of those earlier projects and write a purely heartfelt romance score.

Some of those fans still insist that Meet Joe Black was that score, though others disagree. One thing is certain: Meet Joe Black is a trademark Thomas Newman score through and through, saturated with the techniques and mannerisms that have made him a collector's favorite in his more traditional orchestral side.

Meet Joe Black (1998)

There are essentially three parts of the Meet Joe Black score, two of which readily listenable and one that constantly pulls down the overall product. The highlight is obviously the wholesale offering of grand string romance, reaching its glorious crescendos of string harmony and bold brass counterpoint in the final two score cues.

The sex scene of "Whisper of a Thrill" is a lengthy development of this theme that also includes the more mystical, percussion-tingling element of Death's persona that Newman explores a few times in the work including the eerie "Served Its Purpose". While the grand finale in "The Next Place" is a show-stopper, it suffers from a prolonged paying time that resorts to the doldrums of the atmospheric side of the score.