Vangelis’ soundtrack for Blade Runner remains one of the relatively few soundtracks to establish an enduring reputation as fine music in its own right. At its finest, cinema audiences don’t even need to look at the screen to imagine what’s occurring, sound’s ability to manipulate emotional responses and to create mental associations is all that’s needed. Cinema, a product of the human capacity for story-telling and for reading meaning into content, isn’t a purely visual medium it relies on the interweaving of audio and visual elements. While it’s an arresting image, the overall impact – the ability to forget we’re watching collapsing sugar or synthetic resin – is boosted by wedding the image with sound effects and music. Full-length panes burst in a glittering sea-surf spray as a bloodied figure - the hunted replicant (simulated machine humanoid) Zhora - hurls herself forward through shop windows, in one of the most haunting dystopian visuals from the 1982 film Blade Runner. Sidestepping the controversy, Nick Soulsby pays homage to the musical genius and cult mythology of Vangelis’ original 1982 soundtrack, which arguably remains the greatest score in sci-fi history. Given the impact and enduring appeal of the original, it’s not surprising that the soundtrack to Blade Runner 2049 would be one of the new film’s major challenges.
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