Below is a brief project I completed for my film scoring class where we’ve discussed the various ways music can support visual drama and have even worked on creating our own original scores. We were asked to study and describe a recent film score of our choice!
The Martian (2015) – Directed by Ridley Scott, Music by Harry Gregson-Williams
Film Genre – Fantasy/Science Fiction
CLICK HERE to listen to the full score. (I’d recommend listening as you read!)
CLICK HERE to watch an exclusive interview with composer Harry Gregson-Williams.
The score’s concept is build upon human curiosity and perseverance. In general, the music characterizes Mars as a place of awe and majesty. This represents the thirst for exploration and knowledge as well as the acceptance of risk. While Watney faces overwhelming odds, he refuses to throw in the towel and instead continues the mission, recording and transmitting data and observations. Watney’s acceptance of his own mortality hints at his greater importance to the story. I feel Watney embodies the nature of humans to unite in times of uncertainty. The score follows this story arch by capturing one person’s isolation and soon the rallying masses.
The style is mostly dramatic science fiction with use of synthesized orchestra and percussion for rhythmic energy. There is even a documentary feel, as Watney narrates his plans and ideas to the camera. Harry Gregson-Williams employs underscoring tied with some disco source music to support Watney’s cheerful attitude.
The instrumentation is a mix of electronic and orchestral cues. There is use of light brass on important rising intervals. There are also several underscores of synthesized strings and electronic throbbing rhythms to provide a current of energy through Watney’s dialogue and actions. Much of the movie is a personal look into the life of this secluded astronaut and scientist. Therefore, as he experiments, the music elicits intrigue, but quickly retreats as things turn sour. This stresses the repetition in Watney’s life, as he faces one new obstacle after another. As his chances of rescue gradually increase, the score brings in live orchestra and even choir singing Roman philosophical text about space and time. This important development illustrates Watney’s innate connection with the rest of mankind.
I love that Harry Gregson-Williams creates a feeling of physical space and endlessness with light percussion, from bells to timpani, and an echoing effect throughout. This also captures how much time is passing as Watney begins every day alone on this planet.
Whether in the strings, brass, wind, synth, or even solo piano, the most important motif is the use of rising intervals like 4ths and 5ths. This comprises Watney’s main theme and reoccurs throughout the film. The theme is simple yet encouraging, for although Watney finds himself alone in a harsh new world, his positivity creates a forward-looking narrative, and not one fixated on suffering.