Lecture 9: MUSIC 246

MUSIC246 - Film Scores

[John Barry]

Dr. No (1962, James Bond)

• Originally composed by Monty Norman, but too focused on source music, couldn’t write score, took credit for the music written by assistant.
• Monty Norman gets credit for Barry’s James Bond theme because of contract.
• John Barry composes the music for 11 James Bond films.
• James Bond films use pop music, which are integrated with the James Bond theme (written specifically for the movie).
• Won 5 Academy Awards.
  • Born Free (1967), Out of Africa, Dances With Wolves (1991)
  • [Style defined by clear, tonal melodies (pop influence)]

Initially hired Monty Norman (excellent songwriter but no experience in scoring). In the credits by Monty Norman, arranged theme by John Barry. John Barry took Monty Norman to court, and he had a sheet music with the melody written. But Monty Norman won the case in the end. James Bond written by Monty Norman. Biggest copyright lawsuit case in the history of music.

Jerry Goldsmith (1929-2004)

Wrote the Universal fanfare. Patton (1970)

• Sparse score (less than 40 min) for a 3 hour film.
  • Goldsmith preferred less music rather tham more.
• Music focuses on the character of Patton:

  • Great military leader - standard march: tonal melody.

  • Christian - hymn/chorale: simple, tonal, melody.

  • Belief in reincarnation - electronic echo

    • Part written with electronic processing in mind.

  • Christian theme, hymn

  • Trumpet

  • Tonal style writing

  • Reincarnation theme

• Use of electronic processing on orchestral instruments
• Patton is a man of faith, follows the directive of god
• Patton believes in reincarnation
• Christian

Jerry Goldsmith would always write less music than a film needs.

EX: Patton 1: North Africa

• ’Sound cloud’ as they arrive at the battlefield.
• Note the use of the electronic echo on the trumpet.
• Reincarnation theme expanded during his descrption.
• Hymn theme enters as Patton says - “two thousand years ago” - Christian reference to the time of Christ.
• Goldsmith plays the music very closely to the film. EX: Patton 2: Advance in Europe
• Montage - blending of all three themes.
• March theme accompanies Patton and advancing troops.
• Religious theme accompanies the commanding officers.
• Reincarnation theme when we see the list of German casualties.
  • Nuanced look at war.

Planet of the Apes (1968)

• Social and political critique of western culture.
  • Critique in racism
  • Criticism about science and religion
  • Prepared Piano: stucked objects to distort the sound, different
• Blend of orchestral instruments with elements such as animal horns, mixing bowls, prepared piano (strings are altered).

Modernism: rejection of the past in favour of the new. Musical movement defined something new, new way of structuring scale without using tonality and moving major scale. Also applies to [psycho].

Scene: POTA 1 The Crossing (Part 1)

• No clearorganization, more sound than music
• Use of electronic echo, metal sheet.
• Moving away from tonality. Scene: POTA 2 The Crossing (Part 2)
• Clear melodic structure using 12-tone technique.
• Arnold Schoenber (2nd Viennese School): develops “tone rows” in 1923.
  • 12 tone technique: all 12 notes have equal importance, replaces the major/minor system of tonality.
  • Tone row: Numbers notes from 1 to 12. Can be used in any sequence but all 12 notes have to be used and played before repeating.
  • Variations on tone row
    • Inverse (end to beginning).
    • Inverted (inverst he changes in the sequence).

Tone Row “The Crossing” Main Theme Need to use all 12 notes, cannot change the order. You can invert it, start from last Tone Row “The Crossing” Inverted Theme

Scene: POTA 3 The Takers

• Music for the astronauts is atonal but strongly organized. Clear even rhythm supported by snare drum.
• Music for unseen takers is chaotic, “chirping” woodwinds, log drums - more “primitive” sound.
• Different characterizations not dependent on tonality but rather instrumentation. Scene: POTA 4 No Escape
• One moment of tonal music, reserved for just after Taylor speaks to the apes for the first time.
• Biggest tonality moment when he gets captured. Scene: POTA 5 The Ending
• How would music have changed the impact of this scene?
  • No music when he sees the statue of liberty.
  • No relief.
  • Unrelenting bleakness.

1970s

• Studio system collapses, film costs increase, resulting in fewer films produced.
  • Film cost increase: 72-77, 178%: 77-79 200% - 1970:s 160 films per year (1937: 538 films are produced)
• Genre / formula films become prevalent because of a guaranteed audience.
• Pop scores - The Graduate (1967), Easy Rider(1969), The Last Picture Show (1971), American Graffiti (1973).
  • Cheaper / promotions
  • ”Old school” (orchestra) seen as irrelevant

John Williams (1932 - )

Collaborates with Steven Spielberg for the first time on The Sugarland Express (1974)

[Star Wars] (1977)

• Spielberg introduces John Williams to George Lucas
• Lucas requested style of Korngold, Korngold used as temp track (from King’s Row).
  • Marked the return to the orchestral style of Korngold
• Really marks John Williams success and reaches a level no other composer has ever achieved.
• Composed for standard orchestra, tonal melodies.
• Brings back the use of tonal themes / thematic transformation.

[Jaws] (1975)

• Heavily modernist but brings back sound of Korngold (Neoromantic music).
  • Example of Modernism: ‘The Rite of Spring’ (1917 Igor Stavinsky), controversial among listeners.
• New approach to film promotion and release.
  • Wide release. Released on 400 screens. Made back its money in 13 days.
• Jaws began a shift in the attitude towards orchestral music in film.
  • Re-established the orchestra as an important force in film music and influences Star Wars two years later.
    • A trend that will reach a peak with Star Wars two years later.
• The main theme: 2 note theme.