This is the moment where Dora finally surrenders herself to the dream. In doing so, she crosses the threshold and becomes (in her mind) a creature of the subconscious and not that of the reality she left behind. The door slams behind her and from this moment on, there is not going back. She resolves to do something about her father Vernon when she finally awakes.
As for the music, I wanted to imbue the moment of change with a cinematic edge to give it that epic widescreen feel. I have no idea what the Saint of Doors looks like but I imagined that it hovers close to all of us when we make an important decision (however unwittingly) that significantly affects the rest of our lives. Some of us often step blindly through its one-way door; others like Dora do so willingly.
I’ll happily admit that the influence of Vangelis at hand again but frankly, I could care less. His two albums, China, and the Bladerunner soundtrack are seminal records, yet working for as long as I have in a genre that covets the sounds and styles of the 70s so, there is a good case concerning glass houses and stones to be made should anyone contemplate taking issue.
In truth, I’m surprised that so few other artists have ever referenced his work. Maybe it’s because the two albums mentioned above are seen as sacred cows or perhaps people simply aren’t interested in exploring those kind of sonic landscapes anymore. Tracks like this are merely a nod of recognition to a musician I feel many take entirely too much for granted. The man practically invented the template for the modern film soundtrack and in doing so, helped make the cinematic genre what it is today. He is my Elvis, my Gandhi, my Abbot, my Costello. God bless you sir.