We all know what aggressive, spirit-throttling film scores sound like, and there are certainly many great ones in this vein. I could go ond on.
But what exactly constitutes a quiet film score? David Shire‘s score for All The President’s Man is an exquisite example. It’s all about antsy moods, suspicions, anxiety, uncertainties, undercurrents. I think it’s masterful — perhaps the best of its kind.
Which scores are Shire’s keenest competitors? The ones for Moneyball, Drive and Twelve Angry Men, certainly. Which others?