music 355 final- films

Planet of the Apes

(1968): goldsmith instruments/effects, alternative percussion (metal bowls)-taking sounds and altering them in different ways, prepared piano, echoplex looping, variations of different instruments done for sound of a different world

Halloween

*distinct sound- famous - John Carpenter's film (director and composer) -music is simple, recognizable (odd number of beats, makes audience uncomfortable) - defines the slasher film genre - low budget hit

"Moon River"

-Breakfast at Tiffany's -shift from diegetic to non-diegetic (shifts when the strings start playing in the background) -song is different from the opening credits than it is on the fire escape

West Side Story

-Different from Freed style >location shooting (actually done on the streets, no more extravagant sets) >adaptations

Carrie

-Director Brian De Palma -based off Stephen King Novel -Score: Pinot Donaggio -build up very important in score (has audience anticipating something) -as scene progresses, hear more parts of orchestra as well as slight sound affects of the surroundings of character (makes it feel like we're in her POV) -pace of scene; music and sound editing

The Exorcist

-Director William Friedkin -pre-existing music (avante garde composers) -listen for hypnosis (presence of the score) scene from the film: -its a very low sound and makes the audience uncomfortable/on edge - the sound is constant and emphasizes the scene/the dialogue of characters.

Breakfast at Tiffany's

-Henry Mancini -Capote Novella -Music creates the setting and emotional connection (embody the character) -Integration of song and score - popular music (Moon River)

The Omen

-Jerry Goldsmith -oscar-winning score; "I Hear Voices" - church sound - crates a buildup

Jaws

-John Willams score -Spielberg -production difficulties -motivic economy (how williams creates fear)

Psycho main credits

-Modular exposition -Seventh cord -punctuation -melody sweeping -creates a labyrinth

The Graduate

-Simon and Garfunkel -songs as integral to narrative -integrated, planned and written in some cases - used as a parody in the future: effectively too

Lord of the Rings: The Fellowship of the Ring

-The 2000s: developments: CGI, different distribution avenues -dir. Peter Jackson -extended narrative, many cultures within -composers considered: Elfman (unconventional, can adapt to darkness and horror of story), Horner (flutes, extended themes -actual composer: Howard Shore: symphonic, leitmotific, orchestration, most famous gig for certain reasons: monumental, evocative, beautiful -what to listen for: clear motives, delineation through orchestration, slashing sounds match action but not cheesy

American Graffiti

-popular music reuse to set the time and place -structures some of its story around the listening to music

Snow White and the Seven Dwarfs

1937 original part of Disney's golden age first feature length animated film -song is integral part -character through music--vocal quality, lyrics, Mickey-mousing actions -composers: Frank Churchill, Paul Smith

Psycho

1960's composer: Herrmann director- Hitchcock -Intrigues people by breaking expectations and having audience rules -Uses strings only to make it sound like a woman shrieking, which is unsettling

Easy Rider

1969 -compilation (uses pre existing popular music) -cultural importance -Independent cinema - parodied effectively later (bad guys motorcycles)

Star Wars: A New Hope

1977 George Lucas director John Williams score -borrowed from Korngold, Holst, Mahler -Complication, Folklore

Altered States

1980 director: ken russell score: John Coriglano -musically literate director -pushes boundaries visually -music takes us out of our normal realm

chariots of fire

1981 1924 olympic drama Vangelis score -synthesizer -theme become famous outside film

Raiders of the Lost Ark

1981 Spielberg and Lucas John williams score -Leitmotivic -Serial inspiration again

poltergeist

1982 Jerry Goldsmith -orchestral sections (creates tension with familiar and unfamiliar instruments -rub rods -Dies Irae and horror scoring (catholic chant for the dead) -reason why all horror films sound the same

labyrinth

1986 Trevor Jones score -David Bowie acted and sang in this movie >Shows the weirdness of the film -Sets up tension before we even get into the film -Magic Dance: music video features, integration of narrative -See the movie also -Audio-visual combination

Willow

1988 James Horner Score -Dir. Ron Howard -Fantasy/children's film -Use of different flutes—what does this accomplish? like an innocence and child-like wonder -George Lucas film production -Horner hallmarks In the music: -Wordless choir is brought up every time the baby is on screen -Different narratives to uses of the flutes -Airy flute—characters are in dangers -Uses instrumental tamber or tone color to tell us about what is going on -No silence throughout

The little mermaid

1989 -Disney in the 1980s: move away from fairytales, integrated mjusical moments -composer/lyricist team: Alan Menken and Howard Ashman -music: broadway veterans, style mixing -part of your world: vocal quality, intimacy, link to plot -under the sea: spectacle, musical style, mickey-mousing

Batman

1989 Dany Elfman score -Tim Burton directed -Superhero legacy of a tv show How to achieve the heroic sound? -Borrowing from Herrmann in terms of his approach -Using limited melodic material and repeating it over and over -Making use of extremes of orchestra, deep end of orchestra to signify darkness that Batman will encounter -Heroic sound, part of it from orchestra; big leap; sounds triumphant

Glory

1989 James Horner score -Well-received Civil War film -Oscar ineligibility: similarity to temp, earlier music

Edward Scissorhands

1990 Dany Elfman score -Tim Burton (fairytale like setting) -Creating a consistent aural world/style -matching Burtons visual style - the sound creates a sense of wonder and a innocence even though he is seen as this bad, evil guy

Beauty and the Beast

1991 -reworked as musical -songs as "tentpoles" -composed by Alan Menken -"Be Our Guest": style, film musical heritage, Busby Berkley style, synchronized spectacle of showgirls (but with the dinner utensils)

Emma

1996 -part of women in music -Rachel Portman -first female winner, original score -style: intimate, good fit for Austen stories; more tonal and traditional than Lutyens -what to listen for: around diegetic music, atmosphere

Gladiator

2000 -composers: Lisa Gerrard and Zimmer -Gerrard: singing, composing, improvising -Zimmer: composing, collaborating -Oscar nom went to Zimmer alone -what to listen for: voice, instruments used, creation of atmosphere

Inception

2010 -Christopher Nolan and Hans Zimmer collab: way they are drawn to particular aspects of narrative is the same, such as time; director-composer collaboration that becomes fruitful, understand what other person is trying to do - the film plays with time and narrative musically -convoluted dream/reality narrative -Zimmer's score: playing with time musically; sound that becomes omnipresent -sound helps differentiate worlds

Harry Potter and the Deathly Hallows

2010 -composer: Desplat -series scores: started by John Williams -how to deal with an inherited musical universe

The Social Network

2010 partnership: Fincher -Reznor/Ross with FIncher -collaborative: work throughout filming, communicative director, oscar winning -what to listen for: changes to "in the hall of the mountain king," pacing; timbres/tone color, minimalist texture

Under the skin

2014 -Mica Levi: pop and avant garde influences -victim 1: mood, matching to otherwordly images, can hear psycho influence, but not as in your face; the drums slow down like a heartbeat (hip hop influence)

Guardians of the Galaxy vol. 2

2017 - popular music: leitmotific -nostalgia; time and place; marketing; impact; add or take away meaning to song to create a new meaning for the audience

Phantom Thread

2017 Jonny Greenwood what to listen for: Hitchcock sound and influence period music- really establishes the time and place (classical light jazz) newly composed: you can hear greenwood's literacy/pazazz

Shape of Water

2018 -dir. Guillermo del Toro -winner: best score -what to listen for: orchestration, melodic contour; manages to balance visuals by giving us something delicate; there is space in the texture, invites us in by what we are hearing

Lawerence of Arabia

Jarre score - (1962): >symphonic score, very iconic, clash of cultures, instrumentation evokes place and foreignness and grandeur, Ondes Martenot, Two themes

Apocalypse Now

War film DOLBY SOUND makes new sounds- helicopter sounds >groundbreaking because it feels like its transporting you - also reuses music (popular music, the doors) which creates a leitmotif

A Clockwork Orange

based off of novel 1971 -musical reuse >reuse of wendy carlos which creates a mismatch as well of beethoven - the beethoven part creates past meaning and makes it part of a new meaning

The Good, the Bad, and the Ugly

spaghetti western presented in this film - western style, new instruments