All language subtitles for Sc _+A ilm+M cumenta

Of our eye movements during a film sequence.

It used to be representative scoring,

Where everything you see, you hear.

Walk up the steps. [makes rising sound effect]

Romantic kiss.

The eye's doing the same thing the ear's doing.

There's so many decisions to make in movies.

Hollywood was going through an odd transition in the '60s,

Especially the mid-'60s to the early '70s.

One of the things that got thrown out was the idea

Of the old-fashioned orchestral score.

* in restless dreams I walked alone *

Now there was a movement toward source music.

* narrow streets of cobblestone *

Folk music...

["Bonnie and clyde" theme music plays]

Intimate types of musical groupings...

* take a load off, annie *

* take a load for free

It was just different. The '60s were a lot

Of composers who really knew what they were doing,

Who didn't want to do it the old way.

["Planet of the apes" theme music plays]

[kraft]
jerry goldsmith was absolutely the most innovative composer

To work on mainstream movies on a regular basis.

What's amazing about "Planet of the apes"

Is he's using all these modern techniques.

He reapplied it and put it into drama.

[theme music continues]

Metal mixing bowls and rubber balls being bounced into a bowl.

[theme music continues]

[bates]
just kind of screwing with the orchestra the way he did

And just being so ballsy in his choices

And it being so on point for that movie.

It'll always be one of the all-time great

Science fiction scores.

["Chinatown" theme music plays]

[jon burlingame]
"Chinatown" was written in 10 days after

An earlier score had been written, recorded, and thrown out.

And it's very interesting that jerry comes in

And he looks at the film,

And he immediately decides he needs four harps, four pianos,

Strings, percussion, and a solo trumpet.

[theme music continues]

[ringer ross]
why four pianos?

I mean, jerry was just sort of the godfather of all this, wasn't he?

It's such an interesting musical choice, but that's jerry.

You ask musicians, they might think he is the best ever.

["The reivers" theme music]

[steven spielberg]
when I heard "The reivers," I said, "My god, this guy

-must be 80 years old." I really thought-- -[williams]
nearly!

I thought maybe here's some guy who's 80 years old

Who maybe wrote his greatest scores of his life.

And I wanted to find out who this guy was,

And I met this young man named john williams and I was amazed.

[kraft]
john williams did not start as a classical composer,

He started as a jazz pianist.

[david newman]
john williams played piano on "West side story."

["West side story" theme music plays]

And he played piano on "The apartment."

["The apartment" theme music plays]

[david newman]
born and bred in the fox system,

Him and jerry goldsmith, that's where they learned.

Nobody knew that the whole field would change.

["Jaws" theme music plays]

[lemone]
when we saw "Jaws,"

If it didn't have that "Ba-domp ba-domp",

None of us would have known what was happening.

* da-dun. Da-dun, da-dun da-dun, da-dun *

[theme music continues]

It was pretty brilliant.

And it was almost like a crazy experiment.

He was an engine, "Ba-dum, ba-dum," accelerating.

Ba-dum. Ba-dum. Ba-dum.

Like a train moving forward, this is an eating machine.

He is as simple as "I move forward to kill."

[theme music continues]

That shark didn't need more. He needed two notes.

The first day with steven, he said,

"What are you going to play for jaws?" I went--

[plays "Jaws" theme]

He said, "You're kidding."

[laughter]

I said, "You're crazy, this is a serious movie!"

I thought he was going to say, "No, I'm only kidding."

And he was about to play this very poetic pastoral symphony.

And john said, "No, no, you've made a very primal movie."

[theme music continues]

[spielberg]
part of the genius of john williams

Is how he spots music

And how he places music in a movie.

John did not want music to celebrate a red herring.

He only wanted music to signal the actual arrival of the shark.

Everybody goes, "Oh, 'jaws,' it's just these two notes."

It's not. There's this amazing orchestral symphonic piece

That takes place and it's just being triggered by these two notes.

Just artistic imagination is phenomenal.

We are not worthy.

I said, "Oh my god. It's a rebirth.

Film music is back, it's alive!"

["Star wars" theme music plays]

[leo erdody]
"Star wars" made such an incredible splash when it came out.

Everything about it was so exciting and thrilling

For an 11-year-old growing up at that time.

Here they come.

["Star wars" theme music plays]

[townson]
and spoke to a whole generation of people.

[holkenborg]
I was, I think 12 when that thing came out.

So it had a massive impact on my youth.

[theme music continues]

We had the theme from "Star wars" locked in our head as a kid,

As soon as we walked out of that theatre.

[theme music continues]

[holkenborg]
musically, yes, it is a symphonic score.

But I mean, it's one of the greatest scores probably ever written.

It's impossible to think of "Star wars" without williams' music.

["Star wars" "Luke's theme" music plays]

[maltin]
the score he did helped the audience

Rediscover the classical orchestral film score.

["Star wars" theme music]

Spielberg and lucas can lay claim to many things,

And one of them is helping to reintroduce audiences

To that kind of moviegoing experience.

Star wars turned this shit upside down.

[zimmer]
it was john williams that made me,

First of all, realize that film music could be

Of a quality and distinction that is as great

As any of the classical composers I grew up with.

There's the traditional idea of good and bad,

And how they were exemplified in music.

I like to always go to "Star wars,"

Because there's those beautiful themes, john's main theme,

And then there is the love theme.

[birds chirping]

[quiet piano music]

[marco beltrami]
the piano we built for this movie "The homesman,"

The problem with this is that it's out in the elements,

And it disintegrates.

But I think it's a noble death for a piano.

The wind is a big feature in the movie

And we thought that it'd be great to be able to tune the wind.

[quiet piano music]

It sounds really amazing.

[music continues]

This is part of the fun of experimenting.

You know, you figure this stuff out.

[music continues]

One interesting thing that happens

Is the sound travels through the wire

Faster than it travels through the air,

So you get this reverse echo, which is really cool.

You don't even have to put any effect on the sound at all.

I mean, you can hear it all the way down in the valley.

It's more than just the concept of doing something cool

That nobody's done before. It's more fun.

Samurai's death here, on the hill.

["Rocky" theme begins]

[christopher lennertz]
when you hear "Rocky"...

Everybody in the audience knows what's going on.

The composer is a storyteller.

Music has the ability to shape and in some cases alter

Or even subvert what the filmmaker is communicating.

The score is the heart and the soul of the film.

Film music can make an exciting scene more exciting.

We call it "Emotion lotion,"

Because we can make you feel anything we want you to feel.

It's being able to communicate on a level

That they can't tell in pictures.

Great film music can elevate.

["Rocky" theme climax]

* getting strong now

* moving on now

* getting strong now

[jon burlingame]
music has always been

A part of the cinema-going experience,

As far back as 1895 when the lumi��re brothers

Were experimenting in paris.

In the earliest days, it is true,

Music was thought of as something

To cover up the noise of the projector.

[organ music plays]

[leonard maltin]
silent films were never silent.

There was at least a pianist in the smallest nickelodeons,

And sometimes the bridge between them was a theatre organ.

[music continues]

[bill field]
there were many theatre organ makers,

But the one that produced the most organs,

And is thought to be probably the best

Is the name wurlitzer.

They showed how a person could bring to life

The movies that were otherwise quiet.

[music continues]

They either did a score that was printed for them,

Or they improvised and created their own.

They were made part of the moviegoing experience.

[maltin]
a number of people had toyed

With the idea of scores in hollywood.

[burlingame]
max steiner's score for "King kong" in 1933

Was a landmark.

[christopher young]
when "King kong" came out,

"Wait a second. Orchestra music in a movie?"

["King kong" music plays]

[david newman]
the only reason he was able to do it

Is because the movie wasn't scary.

It looked kitschy and stupid,

Because it was so-- it was kitschy and stupid.

But then he put that music in.

[music continues]

It completely changed the movie. It made it frightening.

[music continues]

[burlingame]
people had not done that before.

It was really the first major score

That demonstrated conclusively the power of music in film.

Alfred newman came from new haven, connecticut,

An iconic figure in the history of film music.

[theme from "Captain from castille" plays]

A sound that favors horns and woodwinds.

[music continues]

[david newman]
my father was alfred newman.

In 1930, he came to l.A.

[20th century fox logo music plays]

He was at 20th century fox for 20 years.

The fox logo-- arguably the most famous logo ever written--

It wasn't written for fox, it was written for goldwyn and it was rejected.

And then he used it for fox and darryl zanuck loved it.

There was nothing like that orchestra. I'm talking about rubato.

["Star wars" "Love theme" music plays]

But then there's the darth vader theme.

[star wars "Imperial march" music]

* dun, dun, dun, dun da dun *

It's just so martial and so broad

That you go, "Oh boy, there's something not good here."

["Imperial march" theme continues]

The right score for the right movie at the right time.

That '70s era, that is absolutely the era of john williams.

["Superman" theme music plays]

Without his music, superman's powers are greatly diminished.

[laughter]

Believe me, if you try to fly without that theme,

You go nowhere. One step, two steps and down.

[theme music continues]

[brian tyler]
everyone knows the superman theme,

But the krypton theme that comes right before it...

That overture, it's mysterious, it's almost like avant-garde.

["Superman" "Krypton theme" music]

That sets up this really tuneful double-chorus melody.

Almost makes it, to me, 10 times more the piece.

So it's his way of surrounding pieces with other pieces.

["Superman" theme music plays]

Most of the world, if you were to play the music

From "Jaws," or "Star wars," or "Raiders of the lost ark,"

Most folks would know exactly what that was.

[brian tyler]
"Raiders of the lost ark."

If you hear the melody without the rhythm,

You can recognize it. [sings melody]

But if you just to the rhythm, [sings rhythm]

With no melody you recognize it either way.

["Indiana jones" theme music plays]

Very simple little sequence of notes.

But I spend more time on those little bits of musical grammar

To get them just right so that they seem inevitable.

[tyler]
there's a hooky, tuneful, well-orchestrated theme,

But I think that's only half of it.

There's always the bravura part of the john williams composition.

The first 8, 16, 32 bars. The great "Raiders of the lost ark" theme.

And then comes the b part.

["Indiana jones" theme music]

It's less well known, but it's so beautifully crafted.

I always think that's the part he writes for himself.

It means "Slowing down and speeding up in an expressive way."

You would never read a line of text like,

[robotically]
"I went to the market today."

"I went to the market today."

You'd have a-- you'd have a structure of a phrase.

That is so uber important in music.

They became expert at making that musical.

That helped define what we know as the classic hollywood sound.

[john debney]
a spotting session is the first time

We all get together, look at the movie,

And decide where the music's gonna go,

And what type of music it's going to be.

All movies, the first 20 minutes

Are too slow because we're laying pipe.

So we want the music to be something but not crazy.

The goal of a spotting session is to have a dialogue

With the composer that you've probably been postponing.

I've done my work, I've done my design,

I've cast the movie, I've shot it.

We've done all our beautiful photography,

We've done all our super-brilliant editing.

Now it's going through and trying to communicate

What I've heard in my mind.

[narrator on film]
ah, mothers.

Mothers are our rocks.

So it says "Open road pictures,"

Then we're going to cut to possibly not the front door

But a shot before the front door

-that establishes the house. -[debney]
got it.

[trevor rabin]
spotting, to me, is really important

Because it gives me an idea of what the director's looking at

And what he's looking for.

-something that's peppy right away... -[debney]
peppy, yep.

And then we come here and we slow down.

Kind of settle on that.

You're collaborating with people.

I want them to feel like a filmmaker like them

Has come into the process.

I'm the one that specializes in

This one thing that they're uncomfortable with.

You're trying to come up with music

That supports the scene and complements it in an unobtrusive way.

You spend as much time as you can

Immersing yourself in the backstory.

As a film composer,

I think he's as brilliant as people feel he is.

And as popular as his music is, he's even better than that.

["E.T." theme on piano]

If it would be convenient to go into the call.

[piano playing]

[sings theme]
yeah.

I like that. As a matter of fact,

It seems like a very natural transition.

-[williams]
up or down? -[spielberg]

Maybe once down.

It could go down once and then go up.

[deborah lurie]
what a score needs to do has changed,

Because of how filmmaking has changed.

Let's take john williams, let's take the end of "E.T."

["E.T." "Bicycle theme" music plays]

Where are we going?

To the forest!

[lurie]
it is just a wide open space for music.

Follow me!

When was the last time that somebody left a space

That open and said, "I want this to be a music moment

Where you just bring that tune home."

[theme music continues]

I'll be right here.

[theme music continues]

Bye.

We have this vast, expansive music

With the taking off of the spaceship.

[theme music continues]

John williams, steven spielberg decide

That we're gonna go from big music to [whoosh],

Reminding us who is going into that spaceship.

We could look at what is happening in the story as being very sad,

These are farewells.

And at the very end we hear this coda,

This fanfare that's very triumphant.

["E.T. End fanfare" plays]

That is saying that we're looking at this from elliot's viewpoint.

That it's not a loss, but it's almost like saying,

"Mission accomplished. We got e.T. Home."

["E.T." music ends]

[david ewart]
in the orchestra, one of the things we love

Is the 10-minute break.

But on tens, when you have been inspired by the music,

There's an electricity.

["Jurassic park" theme plays]

On "Jurassic park,"

You could tell by the look in your colleague's eyes

You're part of the storytelling team.

[man]
do you want to spin forward to the next cue, garry?

-[marshall]
yeah. -[debney]

Ends when she comes around the corner, right?

I try to get a sense of what their insecurities are.

The more time you spend with them,

The more you get those answers.

Most directors don't know how to convert emotions

Into musical-- into music.

So the composer has to kind of act almost like a therapist

And go through all this mishmash

Of what the director's saying and get the essence of it.

What if we kind of tail right into that?

-[woman]
yeah, right, you don't need to go-- -right?

-[man]
don't score him? -maybe don't score--

Just put a nice little transition, garry,

That kind of just spills over.

-and then he comes up. -[marshall]
yeah.

Something like that maybe? Yeah.

We got the-- we got the gist of it.

[hans zimmer]
sort of in that first conversation with the director

I have glimpses of what it could be.

Every project starts roughly the same way.

Somebody comes into the room and says, "I've got this idea.

It'll be fun to do. It'll be a fun adventure," etc.

And they tell you the idea and you get drawn in and you get excited.

And you're flattered that they're even considering you.

"Whoa, me," you know. "I get to go on this ride."

And then they leave the room and then you have a moment of reflection.

You go, "I have no idea how to do this.

Oh, my god."

And then after a while you think

Should you be phoning them and saying,

You know, "Hey, I think you better phone john williams.

I have no idea how to do this."

You know, the blank page is always the blank page.

Plus, I have no idea where music comes from.

So there's always the fear that somebody's going to switch off the tap.

[piano playing]

[rachel portman]
this is a film called "Race."

I've been working on it for a week, so I'm just beginning.

I'm just sort of getting into my process with it.

Where I'm thinking it should start is-- is just coming up.

And I'm going to start with it coming in really, really quietly.

[man in film #1]
no.

-[man in film #2]
well, why not? -[quiet piano music]

[man #1]
you want to win a gold medal?

-[man #2]
sure. -[man #1]

[quiet piano music]

Well, I mean, unless you were planning on waiting--

[portman]
there's a change of direction in the scene.

And that's often a prompt for where music will come in.

[man #1]
well, they don't care for 'em much

Here in columbus, either.

Is that gonna be problem?

[man #2]
no sir.

I just came here to run.

[man #1]
well then, for the next 28 months,

You're either in a classroom, or you're on that track,

Every hour, every day.

[orchestra music swells]

[christophe beck]
as a composer,

When you're sitting there watching a film,

It's not like watching a play or real life.

There's camera positions, there's cuts.

It's an incredibly artificial medium in a way,

And it's really nothing like real life.

We have to find clever ways to introduce something familiar.

["Close encounters of the third kind" motif plays]

[debney]
a motif is a group of notes

That might highlight what a film score is.

A good example would be "Close encounters."

[ship plays motif]

[sings motif]
* dun, dun, dun, dun, dun

["Close encounters" music plays]

Beethoven was one the first composers

To really take a theme or motif and spin it out in a huge way.

[beethoven's "Fifth symphony" plays]

Beethoven's "Fifth symphony,"

[motif continues]

The entire piece is based on that ya-ta-ta-ta rhythm.

Simple hooks, just like a pop song.

But you're then casting them in different lights.

["Lord of the rings" shire theme plays]

[howard shore]
by using motifs,

It helps you to understand the relationships in the story.

-[shire theme continues]
-dear bilbo.

[shore]
when you hear a certain motif, you connect it.

[shire theme continues]

And it actually helped you follow the story.

-["Lord of the rings" fellowship theme]
-nine companions.

[beck]
by the time you get to the end of the film,

When you play that music in its full glory,

It's already familiar to the audience.

[fellowship theme continues]

We're kind of building things up to that main course.

[music continues]

[beltrami]
the director is not a huge fan

Of strictly orchestral elements,

So we're exploring.

In here, this is buck.

He's working on a movie now called "The gunman"

That we're working on together.

We're a little bit under the gun,

And that's nerve-racking.

One of the things we were working at was

Processing these kalimbas.

[plays kalimba]

It's a simple african instrument.

The next week we'll be here quite a bit.

I'm pretty relaxed about it.

[laughs]
buck's not.

There's a lot of work to do.

["The gunman" music plays]

That's the kalimba you hear.

He's following a mystery to find out what's happened.

The music needs to have a bit of intrigue.

["Gunman" theme music]

I think we cracked the puzzle on this pretty quick.

[burlingame]
as film grew up, in terms of the subject

That they were tackling and what the filmmakers

Themselves were seeking, film music itself changed.

It became more modern in style. It embraced jazz.

["A streetcar named desire" theme music plays]

"A streetcar named desire" was alex north's first film score.

And he comes in with a history of having written ballets

And concert works in new york

And tackles his first film assignment,

And writes the most revolutionary score of all time.

["A streetcar named desire" theme music continues]

[townson]
the first film score incorporating jazz

In the writing structure.

Jerry goldsmith said when he heard the score for the first time,

He knew that film music had changed

And would never be the same.

["Pink panther" theme music plays]

Bond. James bond.

[richard kraft]
john barry came from his own band,

Performing music that sounded like early james bond music.

[the john barry seven, "Hit and miss" music plays]

[kraft]
by the time he wrote james bond music,

He was bringing a band sensibility to movies.

[james bond theme music plays]

Thing about big band music, it was cool.

And it swung.

[david arnold]
felt like this was a guy who could do anything.

You will not hear any film, which is to do with spying or secret services

Without a reference to bond.

I mean, it's become the thing to go to,

In the same way that morricone was for spaghetti westerns.

["The good, the bad and the ugly" theme music plays]

[beck]
ennio morricone.

He's not going to hit you with music

That makes you go, "Whoa, what is that instrument?

Whoa, how did he make that sound?"

But what he will do is just kill you with a melody.

[theme music continues]

[doreen ringer ross]
"The good, the bad and the ugly"

Is such an iconic piece of music.

You know, he just took that sound of the guitar

And just put it into that western environment.

[theme music continues]

[holkenborg]
that is the sound of, you know, spaghetti westerns,

Still, 50, 60 years after the fact.

And I think that's quite an achievement.

By the 1960s, you had this great period,

Where you had incredibly well-trained musicians.

[burlingame]
bernard herrmann had come out of dramatic radio.

And his ability to take a sound,

And create a specific kind of unique orchestra

That was specific to each film was groundbreaking.

["Vertigo" theme music)

[young]
the main title from vertigo,

That is the textbook perfect example

Of the score that says "Mystery, something's not right here.

Stay away, but please come. Come running."

[kraft]
that was different than other writers at the time.

These are not melodic ideas. These are little phrases

That had circular madness to them,

That worked really well in alfred hitchcock movies.

It felt like everything's driving forward in a sick,

Inevitably disastrous way.

Bernard herrmann, he had balls.

So just to do what he did with "Psycho" in the shower scene.

[psycho "Shower scene" theme music]

[screams]

Without the music, it's not that scary.

You notice the cuts, you notice the process.

As soon as you put the music there...

["Psycho" shower scene theme music]

You're stuck in the mindset of this psychotic killer.

[bates]
outside of the context of that movie,

People probably just wonder,

"What the hell is the noise? Turn it off."

["Psycho" violin sound]

But it was so effective in that moment.

It really tricked you into believing you saw way more

Of the violent act in that scene than really occurred.

[synth pad music]

[holkenborg]
when you read a book, and it says

"There is this great forest," everybody pictures a forest.

None of these forests will be the same.

It's exactly the same with music.

You can ask 15 other composers to read that same script,

They will all have different musical ideas.

One of the things that I find so liberating about film music

Is the fact that any instrument is valid,

As long as it makes the movie better.

I have about five storage areas

That are all filled with musical equipment.

At a certain point, I collect enough stuff

That when it starts to look like a junk store,

Then the people here do an intervention and they take everything.

They scrape it clean, and I just start over collecting things again.

["Rugrats" piano theme]

It was a piano something like that.

I bought it at a toy store at the beverly center,

And I played the theme song for "Rugrats,"

Because I thought I'd never need to play the toy piano again.

It was like $60 bucks. I thought, "What a lot of money

To spend on a toy piano."

["Rugrats" theme song plays]

So I bought it, brought it to my studio, and recorded it.

Then I took it back and got my money back.

And now I always wonder, where is that toy piano

That I wrote the theme song for "Rugrats" on?

Many times I start the cue from playing other things, not the computer.

[playing rhythm]

These are tuned sleigh bells. They're very rare.

There's music in everything. I'll be taking an elevator.

You'll be in the thing and then all of a sudden

The door will be like [whoosh].

And you're just like, "What was that, man?

That was cool, you know?" and you come back to the studio

And try to recreate that sound.

What would that sound like in musical form?

So I'm always trying to distill what the world sounds like into music.

[drumming]

[xylophone music plays]

[hitting piano strings]

There is no such thing as the wrong way to do something.

You just got to keep trying, and the wrong way

Is the wrong way, until it's the right way.

It's a bit of a dinosaur in that it went extinct

And gave birth to the violin, and the guitar,

And a lot of other things. The construction's pretty simple.

You have two drones, and in this case, one melodic string.

It's kind of suggestive looking, at least.

They sound kind of like when a seal plays musical horns

In a circus or something.

[playing piano]

I haven't played that for years.

Now that I've got the groove, I can imagine

Like what could be a melody on top, right?

[vocalizing]

It's a paradise.

[rumbling]

[holkenborg]
I try to find a general rhythm in a scene.

"Mad max," I spent at least seven months producing the score.

["Mad max: fury road" theme plays]

Trying this, trying that.

Different types of drums.

[theme music continues]

The drums that were uniquely recorded

For "Mad max" just playing one.

[synthesized drum beats]

If you combine all these multiple tracks together,

Then you can get a really, really interesting quality

Of these drums playing together

And they're pretty aggressive, which I'm a big fan of.

[drum beats]

That actually makes, you know, quite a difference.

Some directors want the music

To constantly hit the shots.

Other directors want really long pieces of music

That go over multiple, multiple shots at the same time.

["Mad max: fury road" theme music continues]

These are things that you constantly struggle with

When you work to picture.

[theme music continues]

I don't care what music it is, but if I make a track,

It has to give me goosebumps, myself.

I don't say that to be arrogant,

But if it doesn't hit me in the stomach

As being a great piece of music,

I cannot expect the audience, anybody out there,

To have the feeling that it hits the stomach.

If it gives me goosebumps, it's pretty likely

It'll give someone else goosebumps,

Because I think goosebumps come for everyone from similar places.

When we're looking at emotion,

And other kinds of responses to music,

There are many structures in the brain that are involved.

Music is so multifaceted, it's so multidimensional.

Different aspects of music are processed

By different systems in the brain.

So when you're looking at something,

Like melody and pitch,

That's processed by one system in the brain.

When you're looking at the time-based aspects like tempo and rhythm,

That's processed by another system.

We are having some sort of a physiological response

That the body is showing, and the goosebumps

Is actually just a sign of what's happening inside your body.

There's a system in the brain, ventral striatum

And nucleus accumbens, in particular,

It's our reward center.

Things like chocolate or sex, these are reactions

That we can see involve these structures.

So it's interesting because the same kinds of pleasurable feelings

We get from chocolate, dopamine release,

We could see some of the same kind of activations in the brain to music.

It's the one art form that technically doesn't exist.

You can touch musical instruments,

You can touch cds or cassettes or vinyl that contain the music,

But you can never actually put your finger on music.

It's just air moving a little bit differently.

All music is doing is providing some structure to these air molecules.

So if a truck goes by,

It's pushing air molecules against our inner ear.

If someone's playing cello,

It's pushing the exact same air molecules against our ear,

Just in a different, structured way.

And there's something odd

But really, really interesting and powerful about that.

But they'll never take our freedom!

[moby]
it makes armies march into battle.

["Braveheart" theme music plays]

It makes people cry.

["Schindler's list" theme music plays]

[bates]
it can really increase the overall emotion

In a way that will make a movie stay with its audience

Long after the last frame of film.

We are doing something here.

We're harnessing something from the ether.

Film music, and orchestral music in general,

Is of great interest to neuroscientists

And to scientists because of its great power to emote.

Film music is usually something that

We're not paying conscious attention to,

And yet it has such a powerful impact on us.

[rabin]
"Remember the titans," the music for me

Was written so specifically for that.

["Remember the titans" theme music plays]

It's very interesting about using music in film,

It's providing a very specific context for the music.

There is a permanent linkage, so when you hear it again,

The experiences you had in the theatre are evoked.

I never even thought about whether it could be used elsewhere.

Thank you. God bless you

And may god bless the united states of america.

["Remember the titans" theme music plays]

The phone rang.

A friend of mine said, "I'm at the convention.

'remember the titans' is playing as loud as a kiss concert."

[theme music continues]

I wasn't asked, which I'm not happy about,

That you were not mistaken,

That you had just played something that was going to almost live eternally.

[steve erdody]
almost anything we do with john williams is...

We know it's going to be unbelievable.

We always leave the sessions like feeling,

"Why can't all the sessions be like this?"

["Jurassic park" theme ends]

[david arnold]
a lot of the time you'll pick a studio

Because it's appropriate to the sort of sound that you want to make.

It used to be a church, obviously.

It's a building that's been here for a couple hundred years.

You know, it's a church, and I suppose everyone thinks that all churches are haunted somehow.

We have had engineers who've been in here who've just seen that happen.

You know, chairs just start spinning around.

[chair creaks]

It would be a great way to excuse yourself, wouldn't it?

If you've made a terrible mistake.

"It was the ghost that did that." but no, you know,

All the terrible things that happen here are always based on people.

Usually me.

I've sort of lived in this building since about 1994.

-[arnold]
morning. -[woman]

[arnold]
it was pretty derelict when george martin in the late '80s

Sort of came upon it and decided this would be the place

To convert into a studio.

If you've ever been in a small room with a gang of people and shouted a lot,

It sort of chokes the room out.

You know, so you can't really hear anything

Because the sound has got nowhere to go

So everything piles in on itself?

That's the same in an acoustic space.

If we have 110 people in a room,

We've got this moveable roof panel.

You lift the roof up and it gives you an extra second and a half of reverb

And so, you know, the sound can sort of swim around

This gorgeous space with all these amazing reflective surfaces.

[playing "Casino royale" theme]

We use up to 100 mics on a session.

That all gives you the choice as to how close or how far away

You want to feel from the music.

It's a very different acoustic to abbey road.

[joe kraemer]
86 players total today.

So it's a good size orchestra.

We're here in abbey road studio number one,

Which is the big orchestral room at abbey road.

Check, check, one, two, three, test.

Check, one, two, three.

There doesn't appear to be a great deal of absorbent material on the walls,

So it still has a bit of a live sound to it.

When the orchestra cuts off

You get a really great bit of reverb.

[orchestra ends cue]

The beatles recorded their orchestral stuff in here,

And then in the '80s it became frequently used for film scores,

So "Return of the jedi" was mostly recorded here.

[williams]
chorus people, thank you for coming.

Welcome to this process of making "Star wars."

[kraemer]
the "Star wars" prequels were recorded here.

Just winds, please. 33.

One, two, three.

[woodwinds playing "Star wars: the phantom menace"]

The first three "Lord of the rings" movies were recorded here.

I know when williams did like his films here,

He tended to set up over here

And throw this way, the long way.

So that the choir from like "Duel of the fates" was up against that wall.

[singing "Duel of the fates"]

Our sound engineer on this film,

He asked for this layout,

Because he prefers it in terms of getting the sound that he wants.

[playing "Mission impossible: rogue nation" theme]

When you're a film composer,

Part of the gig is you're giving the director and the producers

The music they want.

But at the end of the day, if they don't like it,

It's not in the movie.

My crew in the mixing room consists of the engineer,

Who in this case is a guy named casey stone.

He's sitting behind the board and he's operating all the faders.

He's the one who set up all the microphones in here,

Laid out the plan for how we were going to record everything.

Next to him is a gentleman named louis,

And louis is operating the pro tools,

So he's controlling the clicks that I hear in my headphones,

And that all the musicians hear in their headphones.

[click track playing]

[music begins]

And then he's also recording all the takes,

Making sure they're all labeled correctly.

There's a gentleman named john finklea,

He's the music editor.

He is the person who will take all the takes

And assemble not only the version that we use in the film,

But also the version that we end up making the soundtrack album from.

[music continues]

Next to him is the orchestrator,

Who in this film is matt dunkley.

I do all my writing in a computer.

The orchestrator takes that file and converts it into an orchestral score,

A score that I can conduct from,

And from which parts can be generated and given to all the musicians.

And they don't have to see all the other parts.

[music ends]

Great. Really, really.

[kraemer]
moving on?

Yeah. Ready?

Different cities, different influences, different rooms.

In london, usually they play with a gentle sound.

In los angeles, they play with a stronger sound.

[pereira]
I do work very hard.

You know, and I have a team that also works hard with me.

It takes a lot to get to this point.

[orchestra rehearsing in slow tempo]

It really is like your life story,

Using the picture as a vehicle

To show the human that you are.

[orchestra playing at full speed]

That was amazing.

[burlingame]
conducting a score is something that everybody used to do.

It's not so much that the composer doesn't have the chops

To go out there and conduct an orchestra, many of them do.

But it's often more important for them to be in the booth,

Listening to what the orchestra is playing,

And sitting right there with the director

To know how the director's feeling about what he's hearing.

[music plays]

Let it play.

[harry gregson-williams]
if you speak to john powell, or hans zimmer,

They'll say they prefer to be in the control room, not conducting,

Because that's where everything's fed through, they have more control.

I mean, basically, we're all going after the same thing.

We want the best result,

The best performance for the film.

[debney]
a lot of composers like to be in the booth,

So that they can be closer to the director.

But I personally feel I get the best performance

When I'm conducting my own music.

[contractor]
good morning!

This is a film for paramount. It's lots of fun.

John has done a great, oh my god, what a score.

So without further ado, our composer and conductor,

John debney.

[applause]

[debney]
good morning.

We're gonna start out with 5m1v3.

Let's make some sound.

One, two. Two.

[music begins]

Good read. Good read.

[bear mccreary]
sight-reading musicians, the studio musicians,

Really are an incredible breed.

Producers or filmmakers, they say,

"Well, how many days do they have to rehearse this?"

And I say, "None. That was it. They never saw it before."

And they go, "What? What?"

There's a technique to being able to sight-read,

To being able to congeal as a section,

As a studio sight-reading orchestra.

[debney]
24, we are faster right away.

[conrad pope]
when you're writing music,

You're writing a letter to the performers.

You're giving them a set of instructions on what they're supposed to do.

And if you do it right, then it should be a love letter.

And it... You should show again,

"I know your instrument. I know who you are."

You have many, many players trying to play the same note,

But no one can.

Everyone is off by microns of a percentage,

Which gives it that chorusing effect.

If everything was consonant and perfect,

Um... Music would-- it would be terrible.

I mean, it would be like putting auto-tune on etta james.

You know, it just would take all the soul out of it.

And honestly that's why we have--

Why orchestras sound beautiful.

[debney]
if there's ever a time

Where I'm not able to get on a scoring stage

And work with 90 musicians, I'll probably do something else.

Working with the live musicians, that's what I live for.

[music begins]

Standing on the podium,

And giving a downbeat to a piece of music

That you've spent a long time crafting.

And hearing it for the first time,

I guess it's like seeing your child for the first time being born.

[music swells]

The joy, the emotion of what that is,

It's really everything to me.

[music ends]

Pretty darn good take.

That's the real power of the orchestra

And I think that's why--

That's why I think it'll never disappear.

Certainly it's been transformed and will continue to be transformed,

But I think at the heart, um...

It's kinda the most human element

And the most emotional element we have.

[kraemer]
let's go from 20 to the end of 48.

This film has a lot of music.

It's an action film, it's a tentpole movie,

So they tend to be more wall-to-wall.

You know, "Jack reacher" had about 60 minutes of music.

This has about 110.

[trevor rabin]
you do see the billboards up

Before you're finished doing the film.

You drive past it thinking,

"But the music's not written yet."

The scary thing is going down to the subway in new york

And I'm halfway done and seeing your name on the poster,

And saying, "Oh god," you know,

It's-- I have a long way to go in two and a half weeks."

The more expensive the movies get,

They do let you know this.

You know, the... The occasional, you know,

Hint gets dropped by the studio

That you know, everything is riding on this and you better, you know, whatever.

So this is not necessarily inspirational,

It's just terrifying.

[mitchell leib]
the complexity of putting these things together

Is immense now, and the pressure is immense.

Our studio?

We're rolling close to a half a billion dollar roll

Every time we take out a single movie.

Do you know how much you have to make?

Every movie that you're making has to be in the top 20 of all-time box office.

It's insane.

I just think the complexity of the business overall has--

Has brought a complexity to the art form.

On the movie "Armageddon," which I did,

I literally got a clock from jerry bruckheimer

With a countdown clock, counting down to the day we finish,

And that was in front of me at all times.

Deadlines can be terrifying.

[kraemer]
the schedule on this film is so accelerated,

It's on a whole other level of professionality.

It's been about six hours so far,

We've got another three hours to go.

[muttering]
so guess what,

Six clicks into bar 29.

Yeah, you should go up a half step, I think.

This kind of situation is so expensive,

And so hard to organize.

But there's always more than one way to solve a problem.

[music starts]

And you can solve this problem by changing the music at this cut,

Or you can solve it by changing the music at that cut.

[music ends]

Great.

[burlingame]
as filmmaking styles have changed,

Film music itself has changed.

And as filmmakers have realized that, over the decades,

Um, they've asked for different things

And gotten different things.

What happened in 1978-79?

Somebody flipped on a synthesizer.

When the synth came in, actually, punk also happened.

And you have this incredible new

Extroverted musical intelligence going on.

* from my heart and from my hand *

* why don't people understand *

* my intentions

* ooh, weird

* ooh ooh ooh ooh, weird science *

Danny elfman. He was a performer.

You know, tim burton, one day he gets to make a movie.

Who's he going to have score it?

Hey, how about his favorite band?

Yeah, love oingo boingo. Who's in oingo boingo?

Who's really the principal songwriter?

Who's really doing-- oh, it's this guy danny elfman.

-bingo-bango! -* weird science

I was starting to write weird but elaborate compositions.

I wrote this thing called "The oingo boingo piano concerto no. 1 and a half."

Without having written that, I never would have taken "Pee wee's big adventure."

["Pee wee's big adventure" music plays]

[lurie]
since he was a kid, more or less,

Just a really curious person who's been amusing himself, you know?

At first it was, you know, just the antics of oingo boingo,

And then the whole tim burton, pee wee.

[kraft]
there's nothing bland about danny.

Thanks a lot, crew.

[kraft]
danny is the composer

Who grabs you by the collar during the main title of the movie and says,

"I'm about to take you into a world, and here's what's it's about."

["Edward scissorhands" music plays]

Danny's biggest strength is

I think he comes up with the most amazing little short musical ideas

That then become big musical ideas.

When he fully, like, exploded with "Batman,"

Everyone's mind was blown.

"Batman," there was only one template: john williams,

And we didn't wanna do that.

Again, I had nothing to go on.

There was no model of what kind of chords,

How you do, like, a darker score that's still fun and has energy.

["Batman" main theme plays]

And I realized what I tried to learn from bernard herrmann years earlier,

Which is, there is only one rule.

There are no rules.

["Batman" main theme plays]

Boo! [laughs]

[theme music continues]

He can broach the big, orchestral world

With the very uber contemporary world,

And he does it really seamlessly.

And you can hear his sound, his personality.

["Shawshank redemption" music plays]

Thomas newman is one of those composers

That it's very difficult to sort of describe what the sound is.

Like danny elfman, thomas has developed his own sound.

["Shawshank redemption" music plays]

[ewart]
the first score I worked with him on

Was "Shawshank redemption."

His music is extremely edgy and unique and he has an unmistakable mark,

It's like a watermark on anything that he does.

[music swells]

That's a lasting piece of art, "Shawshank."

[music ends]

["American beauty" music starts]

[kevin spacey]
my name is lester burnham.

[maltin]
when I saw american beauty,

And I heard thomas newman's first notes

In the first frames of the movie-- I think it's a marimba that you hear.

It absolutely sets the tone of the film,

Puts you a little off balance,

Lets you know that you're in for a somewhat odd,

Offbeat take on american life.

[theme music continues]

The great thing about thomas newman

Is he's managed to capture a way of doing uncertainty,

So it's never-- it's never too committed,

But it's musically kind of got this great character to it.

[j.A.C. Redford]
he will generally, in a cue,

He'll establish a key center.

Things will start to weave in and out around that, around that baseline.

["American beauty" "Plastic bag" music plays]

That creates a kind of a texture that lives behind the orchestra.

When the orchestra comes in, it becomes part of that texture.

Well, that particular language just didn't exist.

It was-- came out of thomas newman's brain.

[burlingame]
thomas newman is alfred newman's

Youngest son.

Yes, he is orchestrally trained

And he can write a great orchestral score,

But sometimes the movies he was working on

Required something more intimate.

["Finding nemo" theme music plays]

A lot ot times you can get a mood,

A prevailing mood and just slap it onto an image

And let it sit for two minutes.

[theme music continues]

Everybody rips it off. Everybody.

And they don't realize. They don't realize.

They're thinking "This is film music, this is how I do film music.

This is how I do that thing."

[theme music continues]

And of course it's been imitated and copied,

But he was...

He was there at that moment

To introduce something new.

It's so difficult to sit down

And do that cold emotive solo piano thing

'cause he's perfected it.

[leib]
mtv is going on the air.

What video are they first gonna play?

A song called, "Video killed the radio star"?

* video killed the radio star *

* video killed the radio star *

If you look closely, you can see hans zimmer in the background.

* video killed the radio star *

* video killed the radio star *

Hans brought an unconventional rock swagger, okay,

[laughs]
to film scoring.

["Gladiator" theme music plays]

[broucek]
there's a brutality about the way

That the orchestra plays. There's a violence, if you will.

An aggression.

There's an intensity about it, an intensity about how it's written,

An intensity about how it's played.

["Gladiator" "Now you are free" begins]

The single female voice of lisa gerard in that film,

On top of the visceral power of the orchestra...

Really had an impact on the audience.

I will see you again.

But not yet. Not yet.

[lisa gerard vocalizing]

We had this idea. It had to be a woman's voice.

[vocalizing continues]

Why do you want a woman's voice in a gladiator movie?

The next day we came in, and there was that hand on the wheat field.

And that shot holds for a minute.

If you have written that in the script

It wouldn't have even made it to being shot.

Why would you hold your hand on the wheat field?

The only way that shot can work was because of the music,

Because of lisa's voice.

But it sort of gave license for the rest of the movie

To be a little bit more poetic

And to be a little bit more expansive.

[lemone]
it really, I think, elevated the whole experience,

And it shaped the sound of hollywood for years afterwards.

Now we're in the hans zimmer era.

It just looms over everything.

[debney]
this is why he's a revolutionary.

Hans took the string section and made them like a guitar.

They're playing rhythm.

[imitates string section]

And that's a really interesting thing.

I don't think anybody had really done that.

["Pirates of the caribbean" theme music plays]

"Pirates." it's like led zeppelin.

It's like freaking led zeppelin played by an orchestra.

[theme music continues]

What hans has certainly done on "Dark knight"

Is obviously blur this line

Between this giant symphonic sound and electronics

And you're not quite sure where one ends and the other begins.

The sort of light, repetitive string ostinatos.

You hear that so often.

["The dark knight" main theme]

It's just all about this constant pulse going on.

[debney]
terribly powerful.

Terribly exciting.

[kraft]
hans zimmer is still- he's a legend and still

Becoming more legendary.

["Inception" theme music plays]

[broucek]
the end of "Inception," it's like a new morning.

When he gets home, he's going to be reunited with his family

For real, in reality.

You're led in one direction like it's going to be okay.

Hans zimmer's score really washes over you in waves.

Then the music just piles it on.

[theme music continues]

The camera pans down and you're left with a big question.

[music grows quieter]

Wow, music adds quite a bit here.

[holkenborg]
we've seen over the last five, six years

Where people that are not film composers

Were asked by a director to do something unique.

Like trent reznor and atticus ross.

And I think these are really good examples

Where people just really love people

That have an artist's career in the world outside of film scoring

Can bring so much authenticity in music and sound to the picture.

["The social network" theme music plays]

[beck]
the sounds they're using are extremely contemporary.

[kraft]
their score for "The social network"

It's an emotional palette. It's a very disturbing kind of lyrical piano.

It's human, but it's technical.

It's emotionally dark, but it's got some feeling to it.

[reznor]
when david fincher called,

"Hey, I want you to score my next film." fuck yeah.

"It's a movie about facebook."

I would be hard-pressed to think of something that sounded less sexy.

And we were shuffling the deck

Trying things that didn't feel intuitive.

Talking about changing the temperature of a movie

And the emotional response of the audience.

Radically different.

[reznor]
the whole movie feels different after that.

I think it feels like a much more important film

Than the kind of "Ah, college life, tomfoolery"

That it could have been misled

Into feeling with the wrong music in there.

And ever since that point, there are a lot more electronic

Artists doing film scores.

Electronic production, and engineering

And a whole different way of looking at music

That is often much more visceral.

Trent reznor and atticus ross for "The social network."

[holkenborg]
I think it's totally deserved that trent reznor

Not only got nominated but also won an oscar for score.

It's completely deserved.

When you have an unconventional image with unconventional sound,

Like with a lot of the things trent and atticus are doing,

The results can really be so much greater

Than the sum of their parts.

What the net result of that is, you know,

In some ways is sort of beautiful chaos.

Film music has changed, fairly radically.

There's far more experimentation.

There's far more freedom and inviting artists who would never have

Thought of doing a film score and nobody would have thought

Of doing a film score before.

And to me that's really exciting.

Technology has made it possible

For every composer to be a producer, as well.

At the core of it, though, is the tune.

For this one is the only cue that I feel

That we still need to work a little bit.

It happens to be the opening of the movie.

So, if we can get like this

Our orchestral ukulele, so to speak,

In a very simple... Very like

Plink, plink, plink, plink, plink.

-like that way, yup. -flies it by, yeah.

Very, very kinda sweet.

One, two, three and...

[music playing]

Can we do it... Okay.

Can we do it so your nails go on top of the string,

So it's kind of dirty.

So you plink, plink, plink,

Yes, yes.

[strings playing]

The cellos now.

An amazing sound.

-happy? -I'm more than happy, man.

I'm like hypnotized.

[music playing]

Yeah, yeah.

Whoo-hoo!

Man, this is some powerful stuff.

Beautiful.

I just wanna thank you again because you are amazing,

And what a privilege it is for a musician,

Like myself, to have you guys playing my music.

So, thank you very much.

Thank you, heitor.

Film music is essentially a recorded art.

Once you have the recording, then you're into mixing,

The more technological part of the production.

[jablonsky]
before the music leaves my studio,

I just give it one last final mix

To make sure everything that I want to be heard is heard.

Every element needs some amount of attention

To create the overall feel that you want.

[music playing]

So that's... That's his main little melody.

Very simple, because he's a big simple, evil dude.

So there's a point where, it's a really dramatic moment in the film.

Up until this point in the music

I didn't have any french horns,

So I introduced them.

[french horns playing]

You probably can't even hear them.

I can hear them because I know what they're playing, but...

Okay, so, now simply mixing them up a bit.

[music playing]

Every time I played that just then, they were there.

When I turn the horns down,

I don't feel that emotional peak.

Now there's 50 foot robots running down the highway,

That line better be mixed up loud,

Otherwise, you're not gonna hear it.

You want your intention to be clear.

[music playing]

The horns just give it kind of more of an emotional weight.

That's a part of mixing, is just making sure the elements

That you want to grab hold of the audience

Are loud enough to make a statement.

And you can't really be wishy washy.

You have to make bold statements.

I think, you know, with "Furious 7,"

People really reacted to that film

On an emotional level.

Paul and his character say goodbye.

That's probably one of the most powerful theater experiences

I've had watching a film that I had worked on.

And it kind of crossed over his real life.

You can feel when a cue is working the audience.

That's what I love about film music,

If it's all emotion.

I think seeing audience reaction to films that you've worked on

Is really helpful.

It doesn't help you for the film that you just did,

Because it's already out in the theater.

But it certainly will help you for the next film.

Seeing literally the reaction of how people respond

To your music, that's really cool.

Now often, I'll cruise up to the front,

And creepily turn back and look at the audience

Watching the movie.

Very rarely am I spotted doing that.

Every once in a while I will look through the audience,

I'm enjoying everyone watching it,

And then there's one head like at the tennis match

With the one person like looking right at you looking at them

And that's uncomfortable, and then I leave.

["Avengers" theme music plays]

You want to get a sense of how did this work?

[theme music continues]

Especially in the scenes that are really musical.

Did they move people?

And then I do something that's slightly embarrassing.

I will run into a bathroom stall,

Um, and see if they're humming

Or whistling the theme,

And it is amazing how many times that's actually happened.

It's like the ultimate pat on the back.

To me, I feel like I affected them on a level

That they're unaware of.

It's cool to be able to witness people

Experiencing what I experienced

When I was watching films growing up.

And to think that it lives on beyond you is a crazy thing.

I mean, it's definitely gonna outlive me.

You know, these movies will be continued to be watched

And that's really cool.

One of the responsibilities we have as film composers,

Is we're the last people on earth who on a daily basis

Commission orchestral music.

Without us, the orchestras might just disappear,

And I think that will create a rift

In, you know, human culture.

I think it will be such a loss to humanity.

We all have this fragility.

We can chat for hours and in a funny way,

I'm very secure about this.

I-- because I hide behind the work.

You'll never really figure me out.

But when I play you a piece of music,

I completely expose myself.

And that's the really scary moment.

I love, I love, I love what I do.

Even when I sit there driven by paranoia, fear,

Neurosis, you know, pulling my hair out.

I still wouldn't trade it for anything else.

Very few people can be inspired every day

To write something brilliant.

Whether or not you're aware of it,

Music plays such an important role

In how you respond to a film.

All your other work on a film can come to nothing

If you don't get the music right.

You constantly have to reinvent yourself

And you have to adapt to very, very difficult psyches.

It's quite a lot of weight to carry on your shoulders,

If you're just struggling and you have self doubts,

And sometimes, yeah, sometimes you crash into a wall.

The satisfaction of succeeding, yeah, it's really something.

Film music is one of the great art forms

Of the 20th and 21st century.

[tan]
there is something about what the film composer

Brings in by their intuition.

That unique ecology, that unique combination

Is what makes film music so powerful, so mysterious,

And probably uncaptureable to us as scientists.

[music playing]

When we were cutting "Titanic," james was sending over music

As he was-- 'cause what he would do is sketch out

On synthesizer, with his synthesist,

What he intended to do with the orchestra.

So I was used to getting sort of new ideas coming in.

So I was sitting there cutting one day

And a disc came in that said, "Sketch."

I thought, "Oh, okay, this goes for the sketching scene."

I just kinda slid it around until I found a place

Where it seemed to sync with the scene nicely.

[music playing]

So serious.

There's a kind of piano downbeat

That I just put on leonardo's eyes coming up

And looking directly at the camera.

[music playing]

A critical moment of eye contact

Between the two of them while he's drawing her,

And then, boy, it just really flowed.

[music playing]

So, I was so excited about it, I called him up,

I said, "Listen, this is working so well."

I put it up to the sketching scene

And it's working fantastically.

And he said, "Oh, no, no, no, no, that's just a sketch.

It's just a piano sketch of a melody.

We can drop it in anywhere." and I said, "But it works beautifully on this scene.

He said, "Really?" I said, "Yeah, get your ass over here."

So, he came over, he said, "Oh, that works pretty well."

He said, "All right, well, I'll orchestrate it."

I said, "No, no, no, no. Just the piano."

[piano music playing]

He said, "All right, I know the best pianist in the world.

I know-- he's out of london."

I said, "No, it's you, buddy, it's you."

[music playing]

But, it's quite interesting watching it being used

For something completely different.

[kraft]
we live in a world that things are underscored.

It's actually interesting how the music

Of "Remember the titans" evokes what obama wanted

To be as the man walking out as the new president.

[theme music continues]

[lemone]
whatever the audience felt in the theatre,

It was resonant again.

The power of the score in and of itself is amazing.

[tan]
when we're watching a 90-minute standard film,

We make about 21,000 or more eye movements.

And even though we feel like we have full control

And freedom of where to look, many studies on eye tracking

Have shown that actually a film audience

Is usually looking at about the same place on a screen

At about the same time.

One way that the eye can be directed to a specific spot

On the screen is when there's something about the music

That matches some characteristic on the screen.

For example, a rising pitch with something that is rising.

And a great example of this comes from

The "Married life" montage from the film, "Up."

The first time that we see the balloons

That are tied to carl's cart,

That's really important because the balloons are going

To be an important visual motif,

An important theme for the entire film.

We see carl, and then we see ellie walking out with a parrot.

And then the balloon cart rises and comes back down.

So it's very interesting to see

That music can be part of the choreography of the dance