Another Use for Film Music
Plus Reader Responses - 1M1 6/29/99
by Jason Foster
You know what I always think is cool? Hearing film music used on something
that's totally unrelated to a film - like the opening/closing of a broadcast
for a major sporting event like the World Series or the Superbowl. NBC
is probably the best at doing this - and seems to have the widest selections
to choose from. You hear film music on nearly every major sports broadcast
they do, as well as on their news magazine shows like 'Dateline.' Someone
there must be an avid soundtrack film music fan. Of all these, though,
film music in a sports broadcast is probably my favorite. Whenever a major
sporting event comes on - even if I'm not interested in the particular
game or event - I always watch the opening to see if they're using any
film music. Sometimes the combination of the visual montage and the music
can be just as chill-inducing as it is in a film.
Usually the scores they choose to play are from recent movies, but are
sometimes obvious and predictable - like the usual guarantee that NBC will
use either THE ROCK or CRIMSON TIDE at some point during any given weekend.
However, sometimes they choose to play something that takes you by surprise
- like in the NBA Finals a few years ago when they played the finale from
Cliff Eidelman's CHRISTOPHER COLUMBUS: THE DISCOVERY. An odd choice considering
that the score almost never gets discussed and since it was well after
the film had left theaters. I like that score a lot and was pleased to
hear it used. On a similar note, I've only heard that music used in one
trailer - FIRST KNIGHT.
So, for something a little different, here's a few of my all-time favorite
uses, sports or otherwise, of film music outside of the film it was written
for (trailers not included). I don't know why I'm able to remember these
so well, but sometimes my mind's funny like that. Some of them I have on
tape and have gotten to know so well because of repeat viewings. Also,
please forgive all the baseball references if you're not a fan. But I hope
some of you out there will remember these players and events.
1991 World Series - CBS
Though I was never a fan of CBS's baseball coverage, their opening to
the 1991 World Series ranks as the best combination of sports visuals and
film music I've ever seen. While playing the 'Overture' from Kamen's ROBIN
HOOD: PRINCE OF THEIVES from start to finish, an audio montage of baseball's
most memorable moments played on top, followed by a video and music only
(no narration) recap of both League Championship Series. I wasn't even
into film music at the time, but still found it very exciting. It was because
of this that I bought the ROBIN HOOD soundtrack.
ROBIN HOOD was the musical theme of the 1991 World Series and the closing
of Game Seven literally brought me to the brink of tears. It was a combination
of things that did this. One, it was about 1:00 am. Two, my beloved Braves
had just lost a tough game, and the Series, to the Twins. Three, being
a huge baseball fan and knowing the season is actually over always makes
me a little depressed. Four, the chosen music was the 'Training' cue from
ROBIN HOOD (Track 6) played against an all slow-motion montage of the entire
series - shots of the Atlanta crowd doing the tomahawk chop, Dave Justice
sliding home to win Game Three for the Braves, and the Twins celebrating
their World Series championship, among others. Quite chill-inducing. I
know it may sound silly, but to this day when I hear that cue, I think
of the closing to the '91 World Series.
1996 Summer Olympics: Closing Credits - NBC
Having been lucky enough to attend an entire day of the 1996 Summer
Olympics in Atlanta, they will always have a special meaning to me. NBC's
two-week coverage was nearly wall-to-wall with film music - in their openings,
the feature stories, etc, etc. But what stood out the most to me was the
closing credits which featured about ten minutes of Randy Edelman's GETTYSBURG
scores against a slow-motion Olympic recap. Edelman was already NBC's "homeboy,
" as he had composed themes for various sports broadcasts, so it didn't
surprise me to hear his music at the end. The whole montage was very moving
- showing the highs and lows, successes and failures of the entire two
weeks. It just worked so well against that footage - even better than it
works in the actual film. I think this is because Edelman's music just
works so well against anything dramatic. It's just so straight-forward.
Some may even say generic (which might be true some of the time). Just
look at how many times DRAGONHEART has been used in trailers, sporting
events, and just about any kind of montage you can think of. Before that
became the popular thing, it was his score to DRAGON: THE BRUCE LEE STORY
that got used to death. His score to COME SEE THE PARADISE also fits this
mold. Nevertheless, during those ten minutes in 1996, it seemed that perhaps
his GETTYSBURG music was written specifically for that montage.
The Last Episode of 'The Wonder Years'
I was a big fan of 'The Wonder Years' when it was in its prime. And
though I found the final episode to be somewhat of a letdown as a whole,
the last five minutes of that show were close to perfect - thanks in large
part to an inspired use of Randy Newman's music from THE NATURAL. For whatever
reason -- perhaps because THE NATURAL has an Americana score and 'The Wonder
Years' was an Americana show -- this music was a prefect match for the
tone of those last few minutes, which brought the series to a fitting and
moving close. It worked so perfectly and sounded so "at home"
that someone not into film music wouldn't be able to tell it wasn't indigenous
to that episode. To me, it showed what purely symphonic music can add to
dramatic episodic television. It generated a more cinematic feel, something
that is usually absent in today's television scores, which are usually
dominated by five- second transitional cues or guitar/synth/piano "background"
ramblings. It is also interesting to point out that a few minutes before
the memorable closing to this episode, an intimate scene between Kevin
and Winnie featured a cue from Ennio Morricone's THE MISSION. You can catch
this episode from time to time on Nick at Nite.
Super 'Seinfeld'
A running gag during 'Seinfeld's' lengthy run was Jerry's semi-obsession
with Superman. There's a rumor that something having to do with Superman
was in every episode - either as a direct mention or something small like
the Superman magnet on Jerry's fridge.
John Williams' score for SUPERMAN found its way into two 'Seinfeld'
episodes. First during "The Race," in which Jerry is coaxed into
running a rematch race with a rival from high school who accused Jerry
of cheating the first time (A spoof of the Superman/Clark Kent persona
played a large role in this episode with Jerry being the source of mystery).
As Jerry begins running prematurely at the sound of car backfiring,
Williams' main title march blasts as the only sound we hear in that scene.
The music plays for a good minute or so until the episode closes in a typically
Superman-serial way with Jerry looking into the camera and winking.
The other instance when Williams' music was prominently featured was
during the clip show that preceded the series finale. This time, a slightly
edited version of the 'Main Title' played over a montage of highlights
from the show's successful run. It was even edited to match the actions
on-screen. And once again, it was the only sound coming from the speakers.
Both uses of the SUPERMAN music were great. Not only because they were
used successfully for comic effect, but also because it matched Jerry's
Superman obsession - and we were all able to get the joke. Also, how many
times does a great John Williams score get to become a major focus of attention
during prime time network television?
The Final Game at Atlanta Fulton County Stadium (1996) - TBS
Can you tell I'm a Braves fan? Sue me. After the game, there was a five
minute or so highlight reel of the greatest moments at Fulton County Stadium
- Hanks Aaron's 715 homerun, Pete Rose's hitting streak ending at 44 games
in 1978, the Braves winning the 1995 World Series, etc. All of these moments
of greatness were supported by 'The Final Game' from Goldsmith's RUDY.
Once again, both of my favorite pastimes combined into one meaty segment
- cool stuff.
Recently while in Atlanta for a Braves game, I walked across the street
from Turner Field to the parking lot where Fulton County Stadium used to
stand. The parking lot was fairly empty and you could see the outline of
the old field, which remains as sort of a permanent marker. Since all of
the bases are marked, I walked up to home plate - the same home plate where
Hank Aaron stood as he hit #715. I just stood there and took it all in.
It was strange to stand in the exact spot where I'd watched so many big
plays happen on TV. Then I walked out to the monument located where Aaron's
homerun ball landed. It was a pretty cool experience. Then my friends and
I ran the bases and reenacted great plays of the past. Perhaps a bit silly,
but I'm glad I did it. This has nothing to do with film music, but I wanted
to tell the story anyway.
Can anyone else think of more good uses of film music outside of the
film? Feel free to send examples or any other comments to jgfoster93@hotmail.com.
Reader Responses
These are reader responses from last
week's column on critiquing film music.
From <paul_hickling@hotmail.com> (Paul Hickling):
"I feel that the most important thing is that the score works
as an integral element of the film. All else is secondary. The music is
there to help (along with all the other elements, direction, props, sfx
etc.) make the production as a whole work as well as is humanly possible.
Fortunately for us a great deal of film music is melodic, and perfectly
enjoyable on it's own. But I think we should be grateful for it as a by-productÖSo
the criteria for what makes a good score is one thing, and what makes a
good album is another, whatever kind of music it is. In our case, once
we are 'into' film music as an interest, obviously we hope that the two
things combine as often as possible. With some composers, most of their
output is enjoyable away from the film, like my favourite, Bernard Herrmann.
With others however, some of their output is definitely not, like my other
favourite, Ennio Morricone. I could be a completist with the former, collecting
everything. But not with the latter, who despite creating some of the most
wonderful sounds in creation, has also created sounds that I couldn't bear
to hear voluntarily."
From <01270767@3web.net> (Brian Martell):
"For the record, if I like the music then the score is great
(WIND AND THE LION comes to mind). If I like it, and it "works"
in the film, then it's GREAT! (STAR WARS comes to mind) If I don't like
it, but the music "works" for the film, then the score is a "good
one" (SAVING PRIVATE RYAN comes to mind). If it doesn't appeal to
me, and doesn't help or fit the film in any way...it sucks (MOM AND DAD
SAVE THE WORLD comes to mind--sorry Jerry)."
From <FJKraljic@email.msn.com> (Frank Kraljic):
"First is the emotional response, second is the science behind
it. This is the basis, in my opinion, of a good critique. The same holds
true for film music. What feeling did the composer's music achieve during
that scene? Does it work? And beyond the film, does that track stand alone
and accomplish the same objective? How? What about the album as a whole?
We all have different tastes in music, but if we as humans do not
similarly interpret the feelings in individual pieces of music (i.e.: "Bishop's
Countdown" in Aliens: suspenseful, apprehensive) then there is no
point for its existence. Personally, I listen and buy movie scores for
inspiration; they are my musical medium of choice that elicits desired
emotional responses. Moreover, somewhere out there each of us has some
piece of music with sentimental value. For that sentimentality to be brought
into a critique would be biased. A good reviewer can look beyond personal
bias and objectively criticize a piece."
From <erwim@movie.nl> (Erwin Taets):
"To me it seems that you're trying to give two different answers
in your article to one vaguely stated question. I would rather have seen
the article split up in two articles, one answering the question "how
to critique music in films?" and the other "how to critique a
soundtrack?" I think these two questions are about two entirely different
things, just like the study of the performance of a play and study of the
written text of it are two different kinds of fields of study. Soundtracks
often include longer or different recordings, alternate tracks, and even
more often, other music from the movie is excluded. You should not ignore
the fact that the music the soundtrack was derived of was never written
to be heard on its own, but the fact that a soundtrack was created (and
that people spent time and money creating an album with music that is meant
to be heard away from the movie), means that you should critique it that
way. The answer to the first question should be given mainly in terms of
functionality, because that's the purpose of film music in a film, the
answer to the second question should be given on the basis of aesthetic
values. Of course, in answering both of these questions the reviewer will
have his own subjectivity to deal with, but that's why we have more than
one film music site that reviews soundtracks and more than one film music
magazine, to get these different opinions."
From <ldeming01@snet.net> (Larry Deming):
Re: Gettysburg
"Ah, Gettysburg. I'm a fool for that score. From the Southern
spy to the closing credits, the music helps stir up the right emotions.
Even though I know it's mostly "phony" synth, it really strikes
a chord with me. The synth sounds are just close enough, and the "real"
instruments poignant enough...and of course it's a devastatingly moving
film."
Thanks to everyone for the comments. See you next time.
jgfoster93@hotmail.com
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