So your saying Luc Besson's inhouse composer for:
Subway (1985), The Big Blue (1988), La Femme Nikita
(1990), Atlantis (1991), The Professional (1994), The
Fifth Element (1997) and Messenger: The Story of Joan
of Arc (1999) is in fact an IDM producer who is
responsible for the recent abomination; better known
as Rollerball (2002). That is the highest injustice
to Tomaso Albinoni [Rollerball (1975), Gallipoli
(1981)], Johann Sebastian Bach, Dmitri Shostakovich
and Pyotr Ilyich Tchaikovsky I've ever heard.
--- Thomas Millar <tmillar@comcast.net> wrote:
quoted 41 lines on 8/16/02 10:09 PM, A. C. at iroel85@hotmail.com
> on 8/16/02 10:09 PM, A. C. at iroel85@hotmail.com
> wrote:
>
> > Fight Club had a good sound track, but I don`t
> know whether you will define
> > it or not IDM
>
> Iron Man Tetsuo, B+W, japanese w/ subtitles, has
> quite the score if you like
> old style heavy AFX/industrial trashcan-beating
> 'IDM'. Worth watching
> anyway. I keep a DVD copy around as a litmus test.
>
> 5th Element also had sort of an IDM/ambient score.
> That bit with the techno
> opera shit kind of ruins it for me, though.
>
> Johnny Mnemonic has an Orbital song from the brown
> album on it.
> The Stallone 'Get Carter' remake has some IDM
> moments. But both of those
> movies suck eggs.
>
> There are also lots of independent flicks with
> techno/IDM-ish scores out
> there. Of course I can't remember any titles.
>
> IMO unless the director is trying to specifically
> make the setting appear
> bizarre/futuristic/super-hip, IDM intrudes more on
> my viewing experience
> than it influences the scene. It's used in car
> commercials to get your
> attention for a brief moment and induce a feeling of
> speed. Most IDM has way
> too much shit going on to be used for films.
>
> Tom
>
>
>
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