Point of Origin

Track Listing

01 - Thinking It (4:14)

02 - Spying (2:55)

03 - Family / Aaron's Activities (3:57)

04 - Investigating / Print (1:30)

05 - Speech / Rewind (2:19)

06 - Tailed (1:51)

07 - Firewatcher (1:52)

08 - Hero (3:09)

09 - Responsibilities / Stalking (2:04)

10 - Resisting Arrest (0:46)

11 - Feeding the Ego (3:40)

12 - Aftermath (1:23)

13 - John's Story (1:34)

Performed by John Ottman

Produced by Michael V. Gerhard and John Ottman

Released by La-La Land Records on November 18th, 2003

Total Running Time: 30:23

Independent made-for-TV thriller films (in this case the pedigree of “made-for-TV” is slightly more improved given that it is for HBO) often have functional, if not very exciting scores. The vast majority of them are done with synth, and thus suffer from the drawbacks of that type of composition style. In this particular instance, however, the score is composed by John Ottman. Having turned in a solid, if not exceptional, score to X-Men 2, I was interested in hearing some more of his work. Thankfully, Point of Origin marks a departure from what I was expecting.

From the opening strains of the main theme, it is apparent that Ottman knows how to handle a score that is both composed and performed by him. The main theme works well in its synth origins and manages to convey both mystery and malevolency. Ottman knows that he has a good thing going with this main theme, and manages to use it quite well throughout. There is even a slight twist of it into a Hispanic style (presumably representing John Leguizamo’s character) that appears in the second cue (Spying). It’s primarily the expert use of this good theme that keeps Point of Origin from falling into the dreck of other thriller synth scores.

There are some synth conventions that are held over, including some atmospheric cues and a tendency to pull in the good old standby of synth noise effects. These moments are more prevalent that I would like, but having been inundated with them with almost every score of this nature that comes down the pike, it’s hardly worth it to waste words on how annoying these can be when isolated on CD.

Ultimately, while a pleasant surprise overall, this score will hardly be of benefit to anyone who has not seen the film, or who simply has a passing interest in Ottman’s work to begin with.