|
|
View Mode |
Regular | Headlines |
|
All times are
PT (Pacific Time), U.S.A.
|
|
|
|
|
|
|
It's about time! |
Posted By: Stephen Woolston on July 20, 2010 - 10:00 PM |
This is something I blogged on a personal blog, but hey, I think it works here too! (Hope that;s okay, LK!)
As I listen to the "Cover Blown" cue from Hanover Street, I'm thinking about how composers like John Barry and Ennio Morricone beat out time as a way of eliciting tension and then play with the listener's perception of time. There's nothing like a regular, 'gets louder but refuses to get faster' ding! ding! ding! to really wind up the tension.
The classic Barry example is perhaps the "Count Down" cue from Goldfinger, which accompanies James Bond's entrapment with Goldfinger's atomic bomb. (Sorry, did I spoil the plot? James Bond wins, everybody, okay?)
Morricone, of course, used the device more overtly, like the real clock tick in My Name Is Nobody and the watch chime in For A Few Dollars More. I wanna mention that brilliant cue "Out Of Time" from 5 Man Army, too. That's a crazy cue and it gets me every time.
But let's get back to that "Cover Blown" cue again. I love that bit where Barry paces and then "stops" one's perception of time as Harrison Ford and Christopher Plummer enter Gestapo HQ. (At least in the non-replaced cue.) Now that's film music doing way more than just "being music".
Film music is so like other advanced forms of communication. Existing in what you might call peripheral hearing, the effect is somewhat subliminal. You might even say hypnotic. It builds, maintains and releases emotional states. It anchors them with motifs and fires them off later. With themes and theme fragments, it opens and closes loops. And, with tricks like this, it plays with time.
So film music is just about putting appropriately sounding tunes on a film, huh? Pish!
Cheers
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Today in Film Score History: April 19 |
|
Alan Price born (1942) |
|
Alfred Newman begins recording his score for David and Bathsheba (1951) |
|
Dag Wiren died (1986) |
|
David Fanshawe born (1942) |
|
Dudley Moore born (1935) |
|
Harry Sukman begins recording his score for A Thunder of Drums (1961) |
|
Henry Mancini begins recording his score for The Great Race (1965) |
|
Joe Greene born (1915) |
|
John Addison begins recording his score for Swashbuckler (1976) |
|
John Williams begins recording his score for Fitzwilly (1967) |
|
Jonathan Tunick born (1938) |
|
Lord Berners died (1950) |
|
Michael Small begins recording his score to Klute (1971) |
|
Paul Baillargeon records his score for the Star Trek: Deep Space Nine episode “When It Rains…” (1999) |
|
Ragnar Bjerkreim born (1958) |
|
Ron Jones records his score for the Star Trek: The Next Generation episode "We'll Always Have Paris" (1988) |
|
Sol Kaplan born (1919) |
|
Thomas Wander born (1973) |
|
William Axt born (1888) |
|
|
|
|
|
|