 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
In the film Deadfall a jewel heist is being carried out while the victims are at a symphony hall watching John Barry conduct a 15-minute piece that serves as a stand-alone piece and also supports the tension of the heist. Also, perhaps one of the longest cues in film history.
|
|
|
|
|
|
The ultimate example of this for me has got to be the source music on the La La Land 'Close Encounters of the Third Kind'. You get Williams scores for a biblical epic, a western and a Stalling style cartoon score. It's a real treat!
I also like the short 'That's real music' on the Quartet release of 'Basic Instinct'.
|
|
|
|
|
|
I dig Restaurant Source from Jaws 3.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
That thread title was the least-confusing way I could put it, but...name some source cues on albums that actually function as score cues for a movie within the movie you're watching (either written by the composer of the movie you're watching, or by someone else), like "Thriller Source" in James Newton Howard's Grand Canyon, or the "Angels With Filthy Souls II Suite" in John Williams' Home Alone 2.
THE TRUMAN SHOW pulls some nice punches, in that there is "dramatic underscore" (as perceived by the viewers of the show), which is also on screen diegetic music, as we see the director manipulate sound and music and camera of the scenes, pulling out all stops for the music when Truman gets re-united with his long lost "father", yet additionally works as actual underscore for the movie itself. It's a terrific scene and one of the best meta uses of music in movies I've ever seen. In another scene, composer Philip Glass can be seen performing some incidental cues for the show which also function as both underscore and score of a fictional TV show.
|
|
|
|
|
|
|
The ultimate example of this for me has got to be the source music on the La La Land 'Close Encounters of the Third Kind'. You get Williams scores for a biblical epic, a western and a Stalling style cartoon score. It's a real treat!
I also like the short 'That's real music' on the Quartet release of 'Basic Instinct'.
Beat me to it. I would also highlight the Quartet release of Total Recall, with its Goldsmith source cues for TV commercials seen by the characters.
48 HRS. has "Aerobics", the source cue for an exercise video seen inside the window of an apartment being staked out by the protagonists.
And, two cues in the "Fanfare Suite" from RoboCop 2 correspond to a scene showing OCP execs watching demo videos of failed prototypes.
|
|
|
|
|
|
|
|
|
|
Okay, how about in Midnight Cowboy when Joe Buck is watching a sci-fi movie in a theatre while he is prostituting himself with a young Bob Balaban. Barry's cue matches Buck's anguish as well as the space tension on screen. P.S. No disrespect to anybody on this thread--I enjoy reading your comments and insights--but I don't tend to read everything here word for word. So sometimes I miss something.
|
|
|
|
|
|
Films that show characters watching newsreels usually fit.
KANE for example.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
One source cue I love is "Goldfarb's Record" in KLUTE. It's on his phonograph, visible on screen. I missed the CD and have to make do with a sound clip I took from Turner Classic Movies.
Also, I'm crazy about "Swinging at Neville's" in THE OMEGA MAN.
|
|
|
|
|
|
|
|
|
|
Did you even READ the first post?
Yes. Both of the examples I cited work fantastically well as score cues, even though they are both source cues.
|
|
|
|
|
|
|
|
|
|
|
