I used to think Michael Mann was doing the most interesting work in terms of updating the crime film score. His electronic stylings always felt very modern and like the best, new way to approach the contemporary crime film.
But now I'm working my way through Oliver Assayas' Carlos and really think Assayas is onto something. He's taken a different route and is scoring much of the film with post-punk songs from the late seventies, early eighties. Here's a sampling of three that appear in the first couple of hours. It's without a doubt the most inspiring and interesting approach to scoring the crime film that I have heard in years.
New Order's Dreams Never End
The Feelies' Loveless Love
A Certain Ratio's All Night Party
Listen to all three on Youtube.
D.W. Sound - D.W. Griffith was a great man to work with. He had enormous vitality and was very interested in the possibilities of *sound*. In the factory sequences...
2 hours ago