The excitement around Halloween, un film de David Gordon Green, is higher than most horror sequels-that-aren’t-reboots / reboots-that-aren’t-remakes, which is to say it exists at all. While the director and co-writer’s credibility is not thin, the presence of John Carpenter counts for a lot. For one, there’s the guaranteed not-give-a-fuck press tour anyone can appreciate; more substantial, though, is his purported creative involvement, a matter fully tangible in one area he’s managed to leave an immense cultural mark: scoring. Working with son Cody Carpenter and godson Daniel Davies, collaborators on the excellent Lost Themes duo and retrospective album Anthology, it revisits the most iconic horror theme ever composed, its beloved siblings, and stakes out new territory.

If you, like I, are interested in what Green’s done with Michael Meyers — and our review claims his efforts are up to snuff — yet can’t help but anticipate Carpenter’s score above all else, your day is here. Read this extended analysis from the man himself in Rolling Stone, then have at it:

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