Now you see, jazz and action music is all good, but for a score to be really good, you need to have class. You always need something traditional and orchestral (in a subtle way if not all-out every time). There needs to be something heavy just to fill up the giant space of a movie filling up an entire screen. There needs to be character and a sense of epic larger-than-life sound.
That's what I set to achieve when I started to work on what I called 'Moonlight Nocturne I'. It was an entire track on the piano with an orchestral undertone. It was supposed to provide the background for the scene where the protagonist and his love interest are under the moon gazing up at the stars.
Things were a little romantic. Nothing expresses romantic better than the classical 'Nocturne'. A song about the night. There was a sense of longing and everlasting love in that song. Something that personally moved me a lot. You need depth in music. There needs to be weight. A sense of something dragging you, when you're watching an intense movie and I believe that was the driving force in this part of the score.
Another track with classical influences in the score was of an intense, ambient nature with the piano being played extremely low, in fact so low there was a certain ring that accompanied it after it went through some customised processing, which even though being purely accidental at first seemed to fit the mood quite perfectly. Otherwise the track didn't have much of anything else except an ambience that reminded me of the claustrophobic feeling one experiences inside an elevator and uncannily reminded me of 'The Shining'.
Time to go on a Stanley Kubrick marathon again. Woooo.