I remember seeing a rerun of The Twilight Zone when I was a kid that scared the bejeezus out of me. My parents turned down the volume and suddenly it was funny, not scary; cheesy, not serious. Music and sound make drama of any kind what it is, but I think they really add something within scifi and fantasy. A couple of recent profiles caught my eye that get into the nitty gritty of writing music to provide a sense of character, identification and place to a show. The first is about the composer of the score for LOST, Michael Giacchino in the New Yorker, and the second is about the composer of Battlestar Galactica and Caprica (and video game SOCOM 4), Bear McCreary. Good stuff. Profile of Michael Giacchino here: http://www.newyorker.com/reporting/2010/05/17/100517fa_fact_ross Interview with Bear McCreary here: http://io9.com/5557483/
Farrah Bostic digs robotsWell, close enough. I like things that REMIND me of robots, including robots themselves, which are an obvious reminder. Robotic things, homages to robots, references to robots - those all work. But I also like rockets. And ray-guns. (Also, the sound the doors on the Enterprise make when they open and shut. Touch-screens. Video phones. My iPad.) Basically, the stuff that symbolizes what we used to think the future would look like. Some of it's here already, and I think that's pretty cool. Ok, that's enough.