0:00:02 > 0:00:05This programme contains very strong language.
0:00:05 > 0:00:08For much of the 20th century, our idea of cinema music was classical,
0:00:08 > 0:00:11symphonic, stately even.
0:00:11 > 0:00:14MUSIC: "Jumpin' Jack Flash" by The Rolling Stones
0:00:14 > 0:00:16But might this also be film music?
0:00:16 > 0:00:20A pop hit by The Rolling Stones turned up to full volume,
0:00:20 > 0:00:23- driving the action. - # Watch it! #
0:00:25 > 0:00:28MARTIN SCORSESE: 'The music I knew, and the music that scored my life,
0:00:28 > 0:00:29'is the music I heard growing up
0:00:29 > 0:00:32'and the music that was around me at the time.'
0:00:32 > 0:00:37And that was the music that propelled all the action in the story.
0:00:37 > 0:00:41Mean Streets was the most extreme expression yet of how
0:00:41 > 0:00:45popular music had pushed aside the symphonic tradition
0:00:45 > 0:00:47to take hold of the film score.
0:00:47 > 0:00:51As new musical genres like rock, pop and disco were born,
0:00:51 > 0:00:53they reverberated throughout cinema.
0:00:53 > 0:00:56MUSIC: "A Hard Day's Night" by The Beatles
0:00:56 > 0:01:00Popular music revitalised the soundtrack,
0:01:00 > 0:01:02and indeed the movies themselves.
0:01:02 > 0:01:06More distinctive, simpler, more direct, more memorable.
0:01:06 > 0:01:09It was music that appealed to a younger audience
0:01:09 > 0:01:11and to a new generation of composers
0:01:11 > 0:01:14and directors who knew how to use it.
0:01:14 > 0:01:18These composers pushed the film score in fresh, exciting directions...
0:01:19 > 0:01:22..composers like John Barry.
0:01:22 > 0:01:26MUSIC: "James Bond Theme" by John Barry Orchestra
0:01:28 > 0:01:33Those screaming horns are giving us a tremendous sense of power and sex.
0:01:35 > 0:01:37And Lalo Schifrin,
0:01:37 > 0:01:42whose cool jazz beats gave an inner voice to iconic movie stars.
0:01:42 > 0:01:46MUSIC: "Bullitt Theme" by Lalo Schifrin
0:01:46 > 0:01:48'Steve McQueen, he said,'
0:01:48 > 0:01:50"Bullitt is a very simple guy.
0:01:50 > 0:01:52"I want you to write a simple theme."
0:01:56 > 0:02:00It was pop arranger Ennio Morricone who orchestrated this,
0:02:00 > 0:02:03one of the greatest gunfights in cinema.
0:02:08 > 0:02:10Here the characters are choreographed to the music
0:02:10 > 0:02:12in an almost operatic way.
0:02:13 > 0:02:16But pop has also been used for commercial
0:02:16 > 0:02:18rather than creative reasons,
0:02:18 > 0:02:21to help fund and promote big-budget movies.
0:02:21 > 0:02:25MUSIC: "Take My Breath Away" by Berlin
0:02:25 > 0:02:28MUSIC: "Misirlou" by Dick Dale
0:02:28 > 0:02:31And when the most influential director of his generation
0:02:31 > 0:02:34decides he can get rid of original scores altogether,
0:02:34 > 0:02:37has the use of popular music in film gone too far?
0:02:39 > 0:02:42Is it really possible to cut out the composer
0:02:42 > 0:02:44and still make a musically great film?
0:02:56 > 0:02:59JAZZ MUSIC PLAYS
0:03:02 > 0:03:04In the late 1940s,
0:03:04 > 0:03:08cities across America were buzzing with a new style of jazz.
0:03:08 > 0:03:15More exciting, less predictable, more like the sound of real life.
0:03:15 > 0:03:18But it was far removed from the discipline of
0:03:18 > 0:03:20a traditional film score.
0:03:20 > 0:03:23And Hollywood cinema wasn't ready for it,
0:03:23 > 0:03:29until a film came along in 1951 which would be the perfect vehicle.
0:03:30 > 0:03:35A Streetcar Named Desire boasted the first all-jazz score.
0:03:35 > 0:03:38And it's one of those movies I can remember seeing for the first time.
0:03:38 > 0:03:42I was completely blown away by the jazz - the immediacy of it.
0:03:42 > 0:03:44The physicality, too.
0:03:44 > 0:03:47And if it had that effect on me in the 1980s,
0:03:47 > 0:03:50think what it did to audiences in 1951.
0:03:52 > 0:03:56A Streetcar Named Desire stars Marlon Brando as Stanley.
0:03:56 > 0:03:59The arrival of his unstable sister-in-law Blanche,
0:03:59 > 0:04:02played by Vivienne Leigh, causes sexual tension,
0:04:02 > 0:04:04which leads to her breakdown.
0:04:04 > 0:04:07You can hear the seeds of this in the music
0:04:07 > 0:04:10from their very first encounter.
0:04:10 > 0:04:14SLOW JAZZ MUSIC
0:04:18 > 0:04:22The soundtrack was the debut film score of Alex North,
0:04:22 > 0:04:24a modernist composer who loved jazz
0:04:24 > 0:04:27and had long wondered
0:04:27 > 0:04:31if its essence could be captured in a more classical musical structure.
0:04:31 > 0:04:35With Streetcar, North harnessed the rhythms and harmonies of jazz
0:04:35 > 0:04:39to emphasise the complex chemistry between the characters.
0:04:39 > 0:04:42As soon as Stanley walks in the room,
0:04:42 > 0:04:45you get this brilliant jazz riff.
0:04:45 > 0:04:47HE PLAYS PIANO
0:04:50 > 0:04:53It's got a march to it, a sort of step.
0:04:53 > 0:04:56It's like the march of fate - he will be her nemesis.
0:04:56 > 0:05:01Over that we get these gorgeous two sax solos.
0:05:01 > 0:05:04One of them starts almost straightaway,
0:05:04 > 0:05:06which is kind of Stanley.
0:05:11 > 0:05:16- You must be Stanley. I'm Blanche. - Oh, you're Stella's sister.
0:05:17 > 0:05:20- Yes.- Oh, hi.
0:05:20 > 0:05:24There's a real sense that Stanley's there in all his sweaty glory.
0:05:24 > 0:05:26We suddenly hear another sax solo,
0:05:26 > 0:05:30which immediately begins to climb higher and higher and higher
0:05:30 > 0:05:34until it almost gets within a range beyond which it can't go.
0:05:34 > 0:05:36That is Blanche.
0:05:40 > 0:05:42Hey, you mind if I make myself comfortable?
0:05:42 > 0:05:45- My shirt is sticking to me. - Please, please do.
0:05:45 > 0:05:49That sax solo is telling us what she's feeling.
0:05:49 > 0:05:52And she's already close to breakdown.
0:05:52 > 0:05:54These are all moments in the scene that simply couldn't be
0:05:54 > 0:05:56put across any other way.
0:05:56 > 0:05:59And what the instruments are doing is being played in a way
0:05:59 > 0:06:02whereby you can hear the breath, you can hear the notes
0:06:02 > 0:06:05moving around, you can hear them being bent and changed.
0:06:05 > 0:06:08And it begins to sound like a human voice.
0:06:08 > 0:06:13When you add that sound to a scene, there's a real sense of physicality,
0:06:13 > 0:06:15humanity, if you like,
0:06:15 > 0:06:18something which you couldn't get out of classical music
0:06:18 > 0:06:22but which jazz gives you from the first second you hear a note.
0:06:22 > 0:06:25But this is no ordinary love triangle.
0:06:25 > 0:06:30Despite Blanche's attraction to Stanley, it's Stella, his wife,
0:06:30 > 0:06:33with her unavoidable sexual power, who really has a hold over him.
0:06:33 > 0:06:36Hey, Stella!
0:06:38 > 0:06:40Hey, Stella!
0:06:40 > 0:06:44North's score in this scene is doing what all great film music does -
0:06:44 > 0:06:46telling us more than we can see,
0:06:46 > 0:06:50and in this case, more than the characters will actually tell us.
0:06:50 > 0:06:52This scene's about desire.
0:06:52 > 0:06:56You can hear in every note of that sax how Stanley feels about Stella
0:06:56 > 0:06:58and how she feels about him
0:06:58 > 0:07:01and what binds the two of them together.
0:07:01 > 0:07:03ATMOSPHERIC JAZZ MUSIC
0:07:08 > 0:07:10And that was the problem.
0:07:10 > 0:07:13The Legion Of Decency, a self-appointed moral pressure group,
0:07:13 > 0:07:16were very powerful at this time.
0:07:16 > 0:07:19They saw the scene, heard the music and took exception to both.
0:07:20 > 0:07:25The scene had to be cut, and North had to go back and rescore.
0:07:25 > 0:07:29Out went the sax to be replaced by strings.
0:07:29 > 0:07:31EMOTIONAL MUSIC
0:07:33 > 0:07:36Sentimentality took over from sensuality.
0:07:39 > 0:07:43And in the version everybody saw, Stella wanted Stanley back.
0:07:43 > 0:07:47But in North's original, Stella just wanted Stanley.
0:07:52 > 0:07:54Don't ever leave me, baby.
0:07:59 > 0:08:04Through the 1950s, jazz expanded the range of film music in America
0:08:04 > 0:08:08and drove a wave of gritty dramas whose soundtracks captured
0:08:08 > 0:08:12the moral complexities of the characters and stories.
0:08:12 > 0:08:15MUSIC: "Beat Girl Theme" by John Barry
0:08:15 > 0:08:17Across the Atlantic,
0:08:17 > 0:08:20Britain was producing its own socially aware dramas
0:08:20 > 0:08:22with contemporary scores to match.
0:08:29 > 0:08:32Beat Girl was set in the Soho beat scene.
0:08:32 > 0:08:35And while its moralistic plot was all a bit trad, its music
0:08:35 > 0:08:39harnessed the urgency and energy of jazz-influenced British pop.
0:08:42 > 0:08:45Beat Girl was the debut film score by John Barry -
0:08:45 > 0:08:48a young composer and arranger who'd had several pop hits
0:08:48 > 0:08:51with his own group, The John Barry Seven.
0:08:54 > 0:08:58The band's signature sound was driven by catchy guitar riffs
0:08:58 > 0:09:01and Barry's own trumpet solos.
0:09:01 > 0:09:05Barry's real ambition was to have a career as a pop star,
0:09:05 > 0:09:07and he only landed the Beat Girl job
0:09:07 > 0:09:11because he shared the same manager as the film's star, Adam Faith.
0:09:11 > 0:09:14# I did what you told me... #
0:09:14 > 0:09:16But maybe it was predestined.
0:09:16 > 0:09:18Barry's father had run a cinema chain
0:09:18 > 0:09:21and, as a child, he'd lapped up movies.
0:09:22 > 0:09:25John Barry worked here in Soho, the heart of London's film
0:09:25 > 0:09:29and music industries, Tin Pan Alley.
0:09:29 > 0:09:32He even used a strip club as a rehearsal space for his band,
0:09:32 > 0:09:34The John Barry Seven.
0:09:34 > 0:09:37I think you can hear those influences in the job that he did
0:09:37 > 0:09:42arranging and performing the theme to the first James Bond film, Dr No.
0:09:42 > 0:09:45MUSIC: "Dr No Theme" by John Barry Orchestra
0:09:45 > 0:09:49Dr No's opening titles are animated entirely around the rhythm
0:09:49 > 0:09:52of the music - pushing it to the fore.
0:09:52 > 0:09:54You can't ignore the swagger of the guitar
0:09:54 > 0:09:57and the almost sleazy quality of the horns.
0:10:03 > 0:10:06Barry was brought in to arrange this theme from a tune
0:10:06 > 0:10:09written by big-band singer Monty Norman.
0:10:09 > 0:10:11I never saw the movie.
0:10:11 > 0:10:13I never met Saltzman and Broccoli. I never met the director.
0:10:13 > 0:10:17I never even read a script. I just knew Bond.
0:10:17 > 0:10:19I think it was in the Daily Mail,
0:10:19 > 0:10:24there was a strip of Bond, which I'd occasionally looked at.
0:10:24 > 0:10:27So I knew what it was about.
0:10:27 > 0:10:30Monty Norman's theme for Dr No was based on a number
0:10:30 > 0:10:33he'd written for a musical. And it went like this.
0:10:33 > 0:10:36HE PLAYS DR NO MELODY
0:10:37 > 0:10:41So what John Barry did in his arrangement was bring to it
0:10:41 > 0:10:43everything he understood about pop and jazz.
0:10:43 > 0:10:46First of all, he kept that melody line but he gave it to
0:10:46 > 0:10:48the twangy guitar that he understood so well
0:10:48 > 0:10:50from the John Barry Seven days.
0:10:50 > 0:10:53Then he added a real driver behind it, which is
0:10:53 > 0:10:55this deep bass brass sound.
0:10:55 > 0:10:58HE PLAYS THEME
0:11:03 > 0:11:07Then he arranged this fabulous middle eight, which takes the music
0:11:07 > 0:11:09and the film on to a different level.
0:11:09 > 0:11:12HE PLAYS THEME
0:11:16 > 0:11:18That screaming horn section
0:11:18 > 0:11:20has an extraordinary confidence and raciness.
0:11:22 > 0:11:24But it's also deeply pop. It's deeply jazz.
0:11:24 > 0:11:27It's got a wonderful kind of mishmash of all the things
0:11:27 > 0:11:29that John Barry understood.
0:11:29 > 0:11:32MUSIC: "Dr No Theme" by John Barry Orchestra
0:11:37 > 0:11:41John Barry got paid 250 quid for his arrangement of the Bond theme.
0:11:41 > 0:11:44And it wasn't until he queued up with everybody else to see
0:11:44 > 0:11:47Dr No at the cinema that he realised how ubiquitous the theme was.
0:11:47 > 0:11:51He contacted the producers, saying, "I arranged your opening title
0:11:51 > 0:11:54"music, I didn't expect to hear it sploshed through the whole film.
0:11:54 > 0:11:56"Can I have some more money?"
0:11:56 > 0:11:59They said, "No, but you can score the next one.
0:11:59 > 0:12:00"If there is a next one."
0:12:00 > 0:12:04In fact, Barry went on to score 11 Bond movies.
0:12:04 > 0:12:07And you can hear the difference when he's not just an arranger
0:12:07 > 0:12:10but a fully fledged composer in his own right.
0:12:10 > 0:12:14MUSIC: "Goldfinger" by Shirley Bassey
0:12:22 > 0:12:26For Goldfinger, Barry drew from his pop contacts,
0:12:26 > 0:12:29casting Shirley Bassey to sing the title song.
0:12:30 > 0:12:33LOUD KISS
0:12:33 > 0:12:37# It's the kiss of death
0:12:37 > 0:12:40# From Mr Goldfinger... #
0:12:40 > 0:12:44From now on, every Bond movie's title number would be
0:12:44 > 0:12:47performed by a leading pop star of the day.
0:12:47 > 0:12:49And the song would help sell the movie.
0:12:49 > 0:12:52# ..His heart is cold
0:12:52 > 0:12:54# He loves only gold... #
0:12:54 > 0:12:58Having firmly established his Goldfinger theme
0:12:58 > 0:12:59in the opening song, Barry runs it
0:12:59 > 0:13:04though a series of symphonic variations throughout the film,
0:13:04 > 0:13:08as when Bond pursues Goldfinger through the Swiss Alps.
0:13:08 > 0:13:11VARIATION ON BOND THEME PLAYS
0:13:14 > 0:13:17And here, Barry seamlessly switches from the original Bond theme
0:13:17 > 0:13:20to the Goldfinger tune.
0:13:20 > 0:13:24MUSIC PLAYS
0:13:24 > 0:13:26He's on the move.
0:13:36 > 0:13:39Although his music's origins are rooted in pop and jazz,
0:13:39 > 0:13:43Barry was also scoring the characters with their own themes -
0:13:43 > 0:13:46in a way traditional Hollywood composers would have understood.
0:13:47 > 0:13:50Barry's success showed how the worlds of film
0:13:50 > 0:13:54and pop music were drawing ever closer together.
0:13:59 > 0:14:03But throughout the '60s, although pop was becoming an ally of film,
0:14:03 > 0:14:07it also threatened to pull young audiences away from the movies,
0:14:07 > 0:14:10overtaking them in popularity.
0:14:10 > 0:14:12MUSIC: "A Hard Day's Night" by The Beatles
0:14:14 > 0:14:20So, with a strident guitar chord and an opening shot that captures
0:14:20 > 0:14:22the tidal wave of fan hysteria,
0:14:22 > 0:14:27one film set out directly to embrace the pop phenomenon.
0:14:29 > 0:14:32A Hard Day's Night - the first film to feature The Beatles,
0:14:32 > 0:14:35the world's biggest pop band.
0:14:35 > 0:14:37Nobody had ever seen anything like it before.
0:14:37 > 0:14:39But then that was the idea.
0:14:39 > 0:14:42A young generation could tell straightaway,
0:14:42 > 0:14:45this was a movie aimed directly at them.
0:14:45 > 0:14:47# So why on earth should I moan
0:14:47 > 0:14:49# Cos when I get you alone
0:14:49 > 0:14:52# You know I feel OK... #
0:14:52 > 0:14:56Director Richard Lester faced a unique challenge.
0:14:56 > 0:14:59He had to choose songs which had already been
0:14:59 > 0:15:02recorded by The Beatles before a script had even been written
0:15:02 > 0:15:05and somehow construct a film that made sense.
0:15:06 > 0:15:10We were given ten songs and I rejected two.
0:15:10 > 0:15:12You sit down,
0:15:12 > 0:15:16given this bag of toys, of wonderful songs,
0:15:16 > 0:15:18and you think,
0:15:18 > 0:15:20"I can't see where this can go."
0:15:23 > 0:15:27The only thing that bound these songs together was the band.
0:15:27 > 0:15:31So Lester looked to The Beatles themselves for ideas about how
0:15:31 > 0:15:34to build his sequences.
0:15:34 > 0:15:38They all had a fairly developed sense of the surreal.
0:15:38 > 0:15:43The first thing I tried to do with the film is to let the audience
0:15:43 > 0:15:49know that things were not going to be a straightforward documentary
0:15:49 > 0:15:54narrative of a day in the life of The Beatles.
0:15:54 > 0:15:56Aye-aye, the Liverpool shuffle.
0:15:56 > 0:15:58In this scene,
0:15:58 > 0:16:03the band magically switch from playing cards to playing a song.
0:16:03 > 0:16:06MUSIC: "I Should Have Known Better" by The Beatles
0:16:07 > 0:16:10# Whoa-whoa I... #
0:16:10 > 0:16:15It was saying to the audience, "You see, life is not as you think it is.
0:16:15 > 0:16:17"There is a surreal quality to them."
0:16:17 > 0:16:21# Can't you see? Can't you see? #
0:16:21 > 0:16:28The whole of Hard Day's Night was starting out of them
0:16:28 > 0:16:32being ordered about in small spaces.
0:16:32 > 0:16:34And no messing about.
0:16:34 > 0:16:36Lennon, put them girls down or I'll tell your mother of you.
0:16:36 > 0:16:41'Being yelled at and being chased by people,
0:16:41 > 0:16:43'and that sudden sense of relief.'
0:16:43 > 0:16:46We're out!
0:16:46 > 0:16:48MUSIC: "Can't Buy Me Love" by The Beatles
0:16:48 > 0:16:53'When they break out and run down a staircase and out into a field.'
0:16:53 > 0:16:56# I'll buy you a diamond ring... #
0:16:56 > 0:16:58CHEERING
0:16:58 > 0:17:02The success of A Hard Day's Night showed how pop music
0:17:02 > 0:17:04could get younger audiences flocking to the cinema.
0:17:12 > 0:17:15Hollywood had also seen how the wind was blowing.
0:17:15 > 0:17:18And leading the way was Walt Disney.
0:17:18 > 0:17:21Looking to appeal to children and parents alike,
0:17:21 > 0:17:25Disney realised his new composers had to be au fait with the pop song.
0:17:25 > 0:17:28He signed up the songwriting duo brothers Richard
0:17:28 > 0:17:32and Robert Sherman, creators of the smash hit You're Sixteen.
0:17:34 > 0:17:36My dad challenged us to write pop music.
0:17:36 > 0:17:38And we started writing pop songs.
0:17:38 > 0:17:44And we had some big number one hits with rock 'n' roll songs.
0:17:44 > 0:17:48Uncle Walt wanted the brothers to bring their songwriting magic
0:17:48 > 0:17:50to a new Disney movie.
0:17:50 > 0:17:53He said, "You know what a nanny is?" We said, "Oh, yeah, it's a goat.
0:17:53 > 0:17:56"You want to do an animated film about a nanny goat?"
0:17:56 > 0:17:59"No, no, no," he says. "It's an English nursemaid."
0:17:59 > 0:18:00"Oh, yeah, sure. We can..."
0:18:00 > 0:18:03So we read this enchanting series of stories.
0:18:03 > 0:18:07The challenge facing the brothers was not only to compose
0:18:07 > 0:18:12the songs for Mary Poppins, but to construct a story from these books.
0:18:14 > 0:18:17We were reading them with great alarm because we'd say,
0:18:17 > 0:18:20"Well, what's the plot? I mean, where is the storyline?"
0:18:20 > 0:18:22It was not a storyline at all.
0:18:22 > 0:18:25It was just wonderful adventures with this magical nanny
0:18:25 > 0:18:29who comes in and does great stuff, and then she leaves.
0:18:29 > 0:18:32So we knew we had to do some quick thinking.
0:18:32 > 0:18:34Let's come in with a storyline.
0:18:34 > 0:18:37MUSIC: "Boiled Beef And Carrots" by Harry Champion
0:18:37 > 0:18:42The brothers fused American pop with a more surprising tradition -
0:18:42 > 0:18:45English music hall.
0:18:45 > 0:18:48# Boiled beef and carrots
0:18:48 > 0:18:49# Boiled beef and carrots... #
0:18:49 > 0:18:52Their passion for these songs would be
0:18:52 > 0:18:54the inspiration behind the film's score,
0:18:54 > 0:18:57with the movie set in Edwardian London.
0:18:57 > 0:19:01I've always been a fan of English music hall.
0:19:01 > 0:19:03Those wonderful old songs. Boiled Beef And Carrots.
0:19:03 > 0:19:05All those things like that.
0:19:05 > 0:19:08Walt bought that right away. He knew what I was talking about.
0:19:08 > 0:19:11We were called in and there were Walt Disney, all of them
0:19:11 > 0:19:15singing Knees Up Mother Brown, kicking their feet up in the air.
0:19:15 > 0:19:16And they were all out of breath.
0:19:16 > 0:19:20And Walt said, "Now, I want you to write me a song like this, right?"
0:19:20 > 0:19:23We said, "Yes, Walt, we'll write you a song like that."
0:19:23 > 0:19:24So we started with...
0:19:24 > 0:19:26# Step in time, step in time
0:19:26 > 0:19:27# Step in time, step in time
0:19:27 > 0:19:29# You never need a reason, never need a rhyme
0:19:29 > 0:19:31# Step in time, you step in time... #
0:19:31 > 0:19:32Link your elbows!
0:19:32 > 0:19:34# Link your elbows, step in time
0:19:34 > 0:19:36# Link your elbows, step in time
0:19:36 > 0:19:37# Link your elbows, link your elbows
0:19:37 > 0:19:39# Link your elbows... #
0:19:39 > 0:19:42That little piece went for 12 minutes.
0:19:42 > 0:19:45You know, one of the greatest scenes you've ever seen.
0:19:45 > 0:19:48And the Shermans would mix all the ingredients that make a classic
0:19:48 > 0:19:53pop song - a memorable lyric, a catchy melody and a potent hook -
0:19:53 > 0:19:56to create the film's most-loved tune.
0:19:59 > 0:20:01We came up with this nonsense word,
0:20:01 > 0:20:04which we decided would be a great gift for Mary Poppins
0:20:04 > 0:20:05to give to the children.
0:20:05 > 0:20:07So we said, "Let's give them
0:20:07 > 0:20:09"a really, funny, crazy, obnoxious word."
0:20:09 > 0:20:12And we started, we said, "It's got to be super colossal."
0:20:12 > 0:20:15And super colossal...well, anybody would write super colossal.
0:20:15 > 0:20:18So we said, "Super something, super crazy,
0:20:18 > 0:20:21"super caga...flava...slava...
0:20:21 > 0:20:25"Supercali... supercalifragilistic! A-ha!" And then, we had...
0:20:25 > 0:20:28# Um diddle diddle diddle um diddle ay um diddle diddle diddle um
0:20:28 > 0:20:31# Because I was afraid to speak When I was just a lad
0:20:31 > 0:20:34# Me father gave me nose a tweak And told me I was bad...
0:20:34 > 0:20:38# But then one day I learned a word That saved me aching nose
0:20:38 > 0:20:41# The biggest word you ever heard And this is how it goes, oh!
0:20:41 > 0:20:44# Supercalifragilisticexpialidocious
0:20:44 > 0:20:47# Even though the sound of it Is something quite atrocious
0:20:47 > 0:20:50# If you say it loud enough You'll always sound precocious
0:20:50 > 0:20:52# Supercalifragilisticexpialidocious
0:20:52 > 0:20:56# Um diddle diddle diddle um diddle ay um diddle diddle diddle um diddle ay... #
0:20:56 > 0:21:00These songs earned the Sherman Brothers two Academy Awards.
0:21:00 > 0:21:02# I've reached the top And had to stop
0:21:02 > 0:21:04# And that's what bothering me... #
0:21:04 > 0:21:08Their knack for writing pop tunes would underlie the huge success
0:21:08 > 0:21:11they went on to enjoy with other classic Disney movies,
0:21:11 > 0:21:13like The Jungle Book.
0:21:13 > 0:21:16# ..I'm tired of monkeying around!
0:21:16 > 0:21:17# Oh, oobee doo
0:21:17 > 0:21:20# I wanna be like you
0:21:20 > 0:21:24# I wanna walk like you Talk like you... #
0:21:24 > 0:21:26The Shermans had applied their pop sensibility
0:21:26 > 0:21:30to reinvigorate the animated musical.
0:21:30 > 0:21:33But in Europe, an entirely different film genre
0:21:33 > 0:21:36would unexpectedly be changed by a pop composer.
0:21:39 > 0:21:43This is the opening of A Fistful Of Dollars,
0:21:43 > 0:21:46its bold graphics and striking music a declaration
0:21:46 > 0:21:49that the spaghetti Western had arrived.
0:21:51 > 0:21:53Italian filmmakers were giving new life
0:21:53 > 0:21:56to one of the oldest genres of cinema.
0:21:56 > 0:21:58Written by Ennio Morricone,
0:21:58 > 0:22:00this title theme boasts the kind of elements
0:22:00 > 0:22:03that made his sound so distinctive -
0:22:03 > 0:22:05the melody, the whistles,
0:22:05 > 0:22:07the recording of a whip crack.
0:22:08 > 0:22:10HORSE TROTTING
0:22:10 > 0:22:12GUNSHOTS
0:22:14 > 0:22:17This use of real world sounds came from Morricone's time
0:22:17 > 0:22:20as an arranger of Italian pop records.
0:22:21 > 0:22:24TRANSLATION FROM ITALIAN:
0:22:39 > 0:22:42The music for A Fistful Of Dollars was based on a pop record
0:22:42 > 0:22:46that Morricone had arranged called Pastures Of Plenty,
0:22:46 > 0:22:49which had impressed director Sergio Leone.
0:22:49 > 0:22:51# We come with the dust
0:22:51 > 0:22:54# And we're gone with the wind
0:22:54 > 0:22:59# Oh, oooh, oooh, oooh... #
0:22:59 > 0:23:03Leone and Morricone had been friends since childhood,
0:23:03 > 0:23:06but Leone also knew that the innovation Morricone had shown
0:23:06 > 0:23:09on his pop records could deliver something special
0:23:09 > 0:23:11despite a tight budget.
0:23:13 > 0:23:16Morricone brings his own sensibility to the Western,
0:23:16 > 0:23:20he mixes his kind of idea of '60s music and modern sounds
0:23:20 > 0:23:24and very individualistic sounds with the idea of the Old West,
0:23:24 > 0:23:29the Spanish guitar, the whistle, this sense of folk music.
0:23:29 > 0:23:33And here, he combines these with the 19th-century European device
0:23:33 > 0:23:35of the leitmotif.
0:23:35 > 0:23:39So out of that title music, when we first see Clint Eastwood,
0:23:39 > 0:23:40The Man With No Name,
0:23:40 > 0:23:42he gets his own little motif.
0:23:42 > 0:23:45FLUTE PLAYS
0:23:45 > 0:23:48Just a little flute...
0:23:48 > 0:23:51But then, when he is spotted by the villain, you get this.
0:23:53 > 0:23:55PIANO PLAYS
0:23:55 > 0:23:59And it's got a little bit more of a sense of danger about it.
0:23:59 > 0:24:01PIANO PLAYS
0:24:03 > 0:24:05And above that comes a Japanese flute,
0:24:05 > 0:24:07which to me says
0:24:07 > 0:24:08Yojimbo, which is the Japanese epic
0:24:08 > 0:24:11on which this film was entirely based.
0:24:11 > 0:24:13So now, Eastwood is a samurai.
0:24:13 > 0:24:15This is what Morricone does,
0:24:15 > 0:24:19he drops these tiny musical ideas into the film throughout,
0:24:19 > 0:24:21giving us a different feel, a different sound each time,
0:24:21 > 0:24:24sometimes very, very short, just a couple of notes.
0:24:28 > 0:24:31Here we have the other great gift that Morricone has,
0:24:31 > 0:24:34a gift for melody, and not just melody,
0:24:34 > 0:24:36a melody that will break your heart.
0:24:36 > 0:24:38MELODY PLAYS
0:24:38 > 0:24:39Get three coffins ready.
0:24:42 > 0:24:44But often, a melody that is placed
0:24:44 > 0:24:49either before or during the most violent moments of these films,
0:24:49 > 0:24:53it gives them an extraordinary texture. Listen to this.
0:24:53 > 0:24:55MELANCHOLIC PIANO PIECE
0:25:05 > 0:25:07MELODY CONTINUES
0:25:16 > 0:25:18It's actually still quite a thin sound,
0:25:18 > 0:25:20it's a single melodic instrument over a string section,
0:25:20 > 0:25:22so it's not full orchestra.
0:25:22 > 0:25:24This is partially because of budget,
0:25:24 > 0:25:27but also because I think Morricone understands
0:25:27 > 0:25:31that we want to hear small textures working under these moments,
0:25:31 > 0:25:34but it really makes us root for Clint Eastwood
0:25:34 > 0:25:38and gives Clint Eastwood's character a soft side
0:25:38 > 0:25:42which is simply not there in the way that he plays it.
0:25:46 > 0:25:48By the time we get to the final shootout,
0:25:48 > 0:25:50that theme of Eastwood's has become huge.
0:25:50 > 0:25:53We now have a trumpet on the lead line,
0:25:53 > 0:25:55very Spanish, beautiful.
0:25:55 > 0:25:58We have strings behind, we have the voices behind,
0:25:58 > 0:26:00so it has an amazing strength.
0:26:00 > 0:26:03FULL MELODY PLAYS
0:26:10 > 0:26:13And we're now in a world of ritual.
0:26:13 > 0:26:17It's as if the music is making the characters choreographed.
0:26:18 > 0:26:22They appear to move in time with the music.
0:26:22 > 0:26:24MELODY INTENSIFIES
0:26:31 > 0:26:34And it gives it a timeless quality,
0:26:34 > 0:26:37but it also gives it an operatic quality -
0:26:37 > 0:26:40this shootout was inevitable from the first moment of the film
0:26:40 > 0:26:44and now the music is giving us the arena within which it can happen.
0:26:53 > 0:26:57Scenes like this placed Morricone in the great tradition of composers
0:26:57 > 0:27:00who shape not just the sound of a movie,
0:27:00 > 0:27:02but its very construction.
0:27:02 > 0:27:06In this and his subsequent films with director Sergio Leone,
0:27:06 > 0:27:10Morricone was a fully fledged artistic collaborator
0:27:10 > 0:27:12in creating the cinematic drama.
0:27:16 > 0:27:21The spaghetti Western established a trend for increasingly violent films
0:27:21 > 0:27:23with almost wordless heroes,
0:27:23 > 0:27:27whose inner nature was expressed through the music.
0:27:29 > 0:27:31This method of scoring characters
0:27:31 > 0:27:33would make its way into American cinema
0:27:33 > 0:27:36through a film shot here, on the West Coast.
0:27:38 > 0:27:42I'm driving through San Francisco, it's a beautiful sunny day.
0:27:42 > 0:27:44And thanks to the movies,
0:27:44 > 0:27:47these are some of the most recognisable streets in the world.
0:27:47 > 0:27:49But there's something missing.
0:27:49 > 0:27:51JAZZ MUSIC PLAYS
0:27:51 > 0:27:52That's more like it.
0:28:01 > 0:28:04This is the soundtrack to the movie Bullitt,
0:28:04 > 0:28:08set in San Francisco and starring Steve McQueen.
0:28:14 > 0:28:16Bullitt was scored by Lalo Schifrin,
0:28:16 > 0:28:18an Argentinian-born composer
0:28:18 > 0:28:22who'd trained in both classical and jazz music.
0:28:22 > 0:28:24He'd worked in Hollywood since the early '60s
0:28:24 > 0:28:29and was best known for his theme to TV series Mission: Impossible.
0:28:34 > 0:28:38Schifrin had also been mentored by the jazz legend Dizzy Gillespie,
0:28:38 > 0:28:41playing with him in New York in the '50s,
0:28:41 > 0:28:44and he wanted to inject some of those jazz rhythms and beats
0:28:44 > 0:28:46into the soundtrack for Bullitt.
0:28:50 > 0:28:52Like Clint Eastwood's gunslinger,
0:28:52 > 0:28:56Steve McQueen's detective Frank Bullitt rarely speaks,
0:28:56 > 0:28:59but Schifrin's score is his voice.
0:28:59 > 0:29:01Steve McQueen, he said,
0:29:01 > 0:29:03"Bullitt is a very simple guy.
0:29:03 > 0:29:06"I want you to write a simple theme."
0:29:10 > 0:29:12McQueen's charisma is that of an ordinary man
0:29:12 > 0:29:14required to do extraordinary things.
0:29:14 > 0:29:18His almost wordless performance means that we are relying a lot
0:29:18 > 0:29:21on how he looks for that charisma.
0:29:23 > 0:29:26However, Lalo Schifrin's music gives his every moment,
0:29:26 > 0:29:29no matter how mundane, a cool energy.
0:29:35 > 0:29:38Bullitt's most famous sequence is ten minutes long
0:29:38 > 0:29:42and contains no dialogue, but an awful lot of driving.
0:29:42 > 0:29:45What makes it compelling is Lalo Schifrin's score,
0:29:45 > 0:29:48which through a couple of very precise gear changes
0:29:48 > 0:29:50turns a street game of cat and mouse
0:29:50 > 0:29:53into something altogether more deadly.
0:29:56 > 0:29:58Here, Schifrin's music focuses
0:29:58 > 0:30:00on Bullitt's intense concentration
0:30:00 > 0:30:03as he tails a pair of mobsters through the busy streets.
0:30:05 > 0:30:08It is insistent but tightly controlled,
0:30:08 > 0:30:12as we feel the pressure building up for the inevitable chase.
0:30:12 > 0:30:14MUSIC PLAYS
0:30:17 > 0:30:21So what will the score do next?
0:30:21 > 0:30:24'The director, he asked me to write music for the chase.
0:30:24 > 0:30:26'I said, "No."'
0:30:26 > 0:30:28"Why not?"
0:30:28 > 0:30:31"Because you are going to orchestrate the chase
0:30:31 > 0:30:34"with sound effects, you don't need music."
0:30:34 > 0:30:37'When Bullitt is in the car and changes gears,
0:30:37 > 0:30:41'that's when the chase starts and I build music up to that point,
0:30:41 > 0:30:43'and at that moment, stop.'
0:30:43 > 0:30:44MUSIC STOPS
0:30:44 > 0:30:48TYRES SQUEAL
0:30:48 > 0:30:53CAR ENGINE RUMBLES
0:30:53 > 0:30:55And yet people congratulate you
0:30:55 > 0:30:57on your scoring of the chase, I believe.
0:30:57 > 0:31:00Yes, they say, "I love the music over the chase."
0:31:00 > 0:31:02And there's no music.
0:31:04 > 0:31:07Three years after Bullitt, Schifrin was invited
0:31:07 > 0:31:10to score another, altogether more violent, thriller
0:31:10 > 0:31:11set in San Francisco.
0:31:15 > 0:31:17And with Dirty Harry,
0:31:17 > 0:31:21director Don Siegel offered Schifrin considerable scope to experiment.
0:31:23 > 0:31:25And he said, "I have a new film," and he said,
0:31:25 > 0:31:27"I want you to write the music for it."
0:31:27 > 0:31:30And he gave me complete freedom.
0:31:30 > 0:31:32He didn't tell me what to do.
0:31:32 > 0:31:36While the dramatic centre of Dirty Harry is Clint Eastwood,
0:31:36 > 0:31:40much of Schifrin's music actually accompanies Scorpio,
0:31:40 > 0:31:42the crazed serial killer he pursues.
0:31:49 > 0:31:53I love, particularly, right from the very start in Dirty Harry,
0:31:53 > 0:31:56the first thing we have is Scorpio up on the roof
0:31:56 > 0:31:58- with his gun trained.- Yeah.
0:31:58 > 0:32:01And the music has a terrific power to it.
0:32:01 > 0:32:05TENSE MUSIC PLAYS
0:32:05 > 0:32:08Scorpio came with the idea of voices.
0:32:08 > 0:32:11Very frenetic,
0:32:11 > 0:32:16kind of...hysterical voices.
0:32:17 > 0:32:21Schifrin uses unusual sounds, such as rubbing the rim of a glass,
0:32:21 > 0:32:24to take us inside Scorpio's psychotic mind.
0:32:24 > 0:32:29EERIE MUSIC PLAYS
0:32:34 > 0:32:36There's also a sense that Scorpio
0:32:36 > 0:32:39represents the end of the '60s dream,
0:32:39 > 0:32:41a countercultural figure turned psychopath.
0:32:44 > 0:32:49Schifrin captures that idea in this scene with acid-rock guitar riffs.
0:32:49 > 0:32:52ROCK MUSIC PLAYS
0:32:56 > 0:33:01In Bullitt, I have electric guitar playing jazz or jazz style.
0:33:01 > 0:33:06In...in Dirty Harry, I used, for Scorpio,
0:33:06 > 0:33:11electric guitars playing kind of acid rock,
0:33:11 > 0:33:13because I wanted to make a difference.
0:33:13 > 0:33:18ROCK MUSIC PLAYS
0:33:18 > 0:33:20Again, it's unpredictable.
0:33:20 > 0:33:22Yeah, and menacing, a little bit menacing.
0:33:29 > 0:33:33Schifrin had taken the popular-music-influenced score
0:33:33 > 0:33:35to a new level of sophistication.
0:33:36 > 0:33:39But he was still working in the classic mould
0:33:39 > 0:33:41of a film composer trusted by the director
0:33:41 > 0:33:44to take charge of how a film sounded.
0:33:44 > 0:33:49But by the 1970s, a new generation of directors was coming into cinema
0:33:49 > 0:33:52who'd grown up with pop music as the soundtrack to their lives
0:33:52 > 0:33:57and wanted to reflect this far more directly in their films.
0:34:03 > 0:34:05In 1973, the greatest of these directors
0:34:05 > 0:34:08began a journey back into his own youth.
0:34:08 > 0:34:11Here, on the streets of New York's Little Italy.
0:34:14 > 0:34:19Martin Scorsese's Mean Streets was a film about the New York Mafia.
0:34:19 > 0:34:21It followed in the wake of The Godfather,
0:34:21 > 0:34:23but concerned small-time criminals
0:34:23 > 0:34:26and drew extensively on
0:34:26 > 0:34:27Scorsese's own memories.
0:34:27 > 0:34:29Scorsese made it on a small budget
0:34:29 > 0:34:33raised independently of the big studios.
0:34:33 > 0:34:35But it meant he had creative control
0:34:35 > 0:34:39and he made the key decision to leave out the composer entirely,
0:34:39 > 0:34:43drawing the film soundtrack from his own record collection.
0:34:43 > 0:34:45'It wasn't even a question.'
0:34:45 > 0:34:48I could never have a composer, like Bernard Herrmann or Elmer Bernstein
0:34:48 > 0:34:51or...that was out of the question.
0:34:51 > 0:34:53You know, I knew I was going to make films somehow,
0:34:53 > 0:34:57but when I did, the soundtrack's up to me.
0:34:57 > 0:35:00And the music I knew and the music that scored my life,
0:35:00 > 0:35:02and still does to a certain extent,
0:35:02 > 0:35:04is the music I heard while growing up.
0:35:04 > 0:35:07So music was very, very much part of an expression
0:35:07 > 0:35:10of who you are and how you feel.
0:35:18 > 0:35:19You know, in reality,
0:35:19 > 0:35:22Mean Streets really takes place between '61 and '63,
0:35:22 > 0:35:25even though we shot it in '72.
0:35:25 > 0:35:28There was Phil Spector and there was the Wall Of Sound.
0:35:28 > 0:35:31And that's the sound I hear in my head.
0:35:31 > 0:35:33And that was the music that propelled
0:35:33 > 0:35:35all the action in the story
0:35:35 > 0:35:38and because that's what was playing in the middle of the night
0:35:38 > 0:35:40in those after-hour joints that we were in.
0:35:40 > 0:35:42Cos there were jukeboxes in these places, you see.
0:35:42 > 0:35:45And especially in the summertime, that music would just echo through.
0:35:45 > 0:35:47And when you're living in a tenement area,
0:35:47 > 0:35:51everybody's out and everybody knows what everybody else is doing.
0:35:52 > 0:35:54Right from the pre-title sequence,
0:35:54 > 0:35:56Scorsese used a record he loved
0:35:56 > 0:36:00to accompany the lead character, Charlie, played by Harvey Keitel.
0:36:00 > 0:36:03'I imagined the opening of the picture,
0:36:03 > 0:36:06'he looks at himself in the mirror, wonders who the hell he is'
0:36:06 > 0:36:08and then, he puts his head back on the pillow
0:36:08 > 0:36:11and as we do that, we cut three times into the beat.
0:36:11 > 0:36:14So that was all worked out in my head way, way in advance.
0:36:16 > 0:36:19MUSIC: "Be My Baby" by The Ronettes
0:36:22 > 0:36:24'The first beats of Be My Baby,
0:36:24 > 0:36:27'they just emerged'
0:36:27 > 0:36:29and they're with me all the time.
0:36:30 > 0:36:32So it's...even when I'm on set, it's always...
0:36:32 > 0:36:35HE TAPS THE SONG'S RHYTHM
0:36:35 > 0:36:38And they know, everybody looks at me, "Yeah, OK?"
0:36:38 > 0:36:40And it's just, it's just what I do.
0:36:40 > 0:36:43It's part of... it's become part of my DNA.
0:36:44 > 0:36:47And then, the thing was to go to home movies.
0:36:49 > 0:36:52And then, intercut with actual eight-millimetre films
0:36:52 > 0:36:57that my brother took of his first son's christening, that was 1965.
0:36:57 > 0:37:01- # ..Say you'll be my darling - Be my, be my baby
0:37:01 > 0:37:04# Be my baby now
0:37:04 > 0:37:06# Whoa whoa whoa whoa... #
0:37:06 > 0:37:09Mean Streets tells how Charlie's attempts
0:37:09 > 0:37:11to get ahead in the local Mafia
0:37:11 > 0:37:12are complicated by Catholic guilt
0:37:12 > 0:37:16and his loyalty to his irresponsible friend Johnny Boy,
0:37:16 > 0:37:18played by Robert De Niro.
0:37:20 > 0:37:22Scorsese carefully makes us wait
0:37:22 > 0:37:25before showing us the two friends together.
0:37:25 > 0:37:27Girls, after you.
0:37:27 > 0:37:31'All right, OK, thanks a lot, Lord, thanks a lot for opening my eyes...'
0:37:31 > 0:37:34Charlie is waiting at the bar for Johnny Boy,
0:37:34 > 0:37:38what could Scorsese possibly do with such an ordinary scene?
0:37:38 > 0:37:39Well, what he does is to pull off
0:37:39 > 0:37:43possibly the greatest musical coup of the whole movie.
0:37:43 > 0:37:47MUSIC: "Jumpin' Jack Flash" by The Rolling Stones
0:37:47 > 0:37:49The music leaps into the foreground
0:37:49 > 0:37:53and, suddenly, Johnny Boy IS Jumpin' Jack Flash
0:37:53 > 0:37:55and he's a gas, gas, gas.
0:37:55 > 0:37:58And we know Charlie can't trust him.
0:37:58 > 0:38:02Look at Charlie's face - he knows Johnny Boy is going to be trouble.
0:38:02 > 0:38:06SONG CONTINUES
0:38:09 > 0:38:13It's a world in which there is a conformity and a tradition,
0:38:13 > 0:38:16a tradition which is underworld.
0:38:16 > 0:38:19Johnny is anarchy,
0:38:19 > 0:38:21hence Jumpin' Jack Flash.
0:38:23 > 0:38:25And I knew it had to be in slow motion,
0:38:25 > 0:38:27but what we found when I cut to Harvey
0:38:27 > 0:38:31and when he put that glass of liquor down, it just worked beautifully
0:38:31 > 0:38:33with the music and he moves back to the edge of the bar
0:38:33 > 0:38:36and there's a woman sitting there, I don't know who she is,
0:38:36 > 0:38:37but she looks like a ghost.
0:38:37 > 0:38:41SONG CONTINUES
0:38:41 > 0:38:42I guess, basically, you know,
0:38:42 > 0:38:44that was the movie, that was the one,
0:38:44 > 0:38:46I put it all in there.
0:38:47 > 0:38:52And if anyone was ever to wonder what that life was like or...
0:38:53 > 0:38:57..or what that world sounded like and felt like, you know,
0:38:57 > 0:39:00they can check out that picture.
0:39:02 > 0:39:06Scorsese had proved that a serious, dramatic film
0:39:06 > 0:39:08could cut out the composer altogether.
0:39:10 > 0:39:14That same year another of this new wave of young directors,
0:39:14 > 0:39:18George Lucas, explored his boyhood experiences in American Graffiti
0:39:18 > 0:39:20to a soundtrack consisting entirely
0:39:20 > 0:39:24of '50s and early '60s pop classics.
0:39:28 > 0:39:31But through the '70s, pop music itself was changing,
0:39:31 > 0:39:34evolving new styles and genres.
0:39:34 > 0:39:37For film producers canny enough to ride this wave,
0:39:37 > 0:39:39there was serious money to be made.
0:39:40 > 0:39:44In 1977, a film was released that was shot here, in Brooklyn,
0:39:44 > 0:39:47and used the latest pop music to tell us about the dreams
0:39:47 > 0:39:49and hopes of its characters.
0:39:49 > 0:39:52Not a back catalogue of '50s and '60s hits,
0:39:52 > 0:39:54but a phenomenon that was sweeping the country
0:39:54 > 0:39:57and would burn very brightly, if a little briefly.
0:39:57 > 0:40:00Ladies and gentlemen, I give you disco.
0:40:02 > 0:40:06MUSIC: "Night Fever" by the Bee Gees
0:40:06 > 0:40:10The producers of Saturday Night Fever wanted to build its soundtrack
0:40:10 > 0:40:14around six songs that had already been recorded by The Bee Gees.
0:40:18 > 0:40:21To provide additional tracks and incidental music,
0:40:21 > 0:40:23David Shire was called in.
0:40:24 > 0:40:27With a theatre and jazz background,
0:40:27 > 0:40:29Shire had written scores for key '70s films
0:40:29 > 0:40:31like All The President's Men.
0:40:31 > 0:40:35He now had to find a way of working within the disco style.
0:40:36 > 0:40:38I guess that's what I liked about disco.
0:40:38 > 0:40:40You could take anything, you could take Beethoven,
0:40:40 > 0:40:44you could take Rimsky-Korsakov, you could take Mussorgsky,
0:40:44 > 0:40:49and just put 120 beats per minute to it and a rhythm section,
0:40:49 > 0:40:51and it would kind of work.
0:40:53 > 0:40:54For this sequence,
0:40:54 > 0:40:57Shire adapted a classical piece, Night on a Bare Mountain
0:40:57 > 0:41:01by the 19th-century Russian composer Modest Mussorgsky.
0:41:01 > 0:41:07MUSIC: "Night on a Bare Mountain" by Mussorgsky, adaptation David Shire
0:41:13 > 0:41:16Shire gives it a disco twist, which enhances the tune's
0:41:16 > 0:41:19and the scene's dizzying, dangerous feel.
0:41:19 > 0:41:23MAN SHOUTING
0:41:26 > 0:41:33And it turned out to be the most lucrative film job I've ever had,
0:41:33 > 0:41:39the least composing but the most rewarding, financially.
0:41:40 > 0:41:43The Saturday Night Fever soundtrack sold 15 million copies
0:41:43 > 0:41:46and spent six months at number one.
0:41:46 > 0:41:51The film itself earned more than 90m at the US box office,
0:41:51 > 0:41:53a huge sum for the time.
0:41:53 > 0:41:56Hollywood studios would now seek to exploit this cash cow,
0:41:56 > 0:42:00with an eye firmly on the commercial rather than the artistic
0:42:00 > 0:42:02possibilities of pop songs.
0:42:03 > 0:42:06In the 1980s, with American cinema ticket sales topping
0:42:06 > 0:42:08a billion a year,
0:42:08 > 0:42:13Hollywood and the pop industry became increasingly co-dependent.
0:42:13 > 0:42:16Big-budget movies like Top Gun were indiscriminately filled with
0:42:16 > 0:42:18pop and rock tracks.
0:42:19 > 0:42:23Videos were used to market movies on MTV,
0:42:23 > 0:42:26while the films were used to promote the artists themselves.
0:42:29 > 0:42:31MUSIC: "Take My Breath Away" by Berlin
0:42:33 > 0:42:35Against this corporate background,
0:42:35 > 0:42:39it would take a director of singular vision to make popular music
0:42:39 > 0:42:41mean more than the sum of its lyrics.
0:42:44 > 0:42:49MUSIC: "Blue Velvet" by Bobby Vinton
0:42:49 > 0:42:54Right from the exaggeratedly idyllic opening of Blue Velvet,
0:42:54 > 0:42:59David Lynch uses '50s pop songs to create a dream-like atmosphere.
0:43:04 > 0:43:08For Lynch, classic pop is like necromancy,
0:43:08 > 0:43:10bringing to life a world of strange,
0:43:10 > 0:43:14chilling encounters between people on the edge, as in this scene
0:43:14 > 0:43:18where the title song is performed by the film's star Isabella Rossellini.
0:43:21 > 0:43:27# Blue velvet... #
0:43:29 > 0:43:32Here, Lynch's sinister alchemy twists a seemingly innocent
0:43:32 > 0:43:36love song to highlight the growing obsession of the film's
0:43:36 > 0:43:39protagonist Geoffrey with Rossellini's character.
0:43:41 > 0:43:44# ..was the night from the stars... #
0:43:46 > 0:43:49To help Rossellini with her vocal performance,
0:43:49 > 0:43:54the producers called songwriter and composer Angelo Badalamenti.
0:43:54 > 0:43:55And I meet with Isabella.
0:43:55 > 0:43:58We work on the song Blue Velvet.
0:43:58 > 0:44:00We then record it.
0:44:00 > 0:44:02David puts the earphones on,
0:44:02 > 0:44:05he listens to the whole thing,
0:44:05 > 0:44:07takes the earphones off and he says,
0:44:07 > 0:44:09"This is peachy keen.
0:44:09 > 0:44:11"That's the ticket."
0:44:13 > 0:44:15But that wasn't the end of it.
0:44:15 > 0:44:19Lynch wanted to use a track by the band This Mortal Coil in the film,
0:44:19 > 0:44:22but the producers couldn't afford to license it.
0:44:22 > 0:44:27Instead, they suggested Badalamenti should write an original song.
0:44:27 > 0:44:31So I said, "OK, but I need a lyric. I'm not a lyric writer.
0:44:31 > 0:44:36"Why don't you tell your director to write a lyric?"
0:44:36 > 0:44:39And I'm recording Isabella now on Blue Velvet,
0:44:39 > 0:44:42and she comes in with this little piece of paper,
0:44:42 > 0:44:45and on it, on the top, it says, "Mysteries of Love."
0:44:47 > 0:44:50And I'm reading it, "And sometimes the wind blows,
0:44:50 > 0:44:53"and you and I float in the darkness and kiss for ever..."
0:44:53 > 0:44:54blah, blah, blah.
0:44:55 > 0:44:57I'm thinking, "This is awful."
0:44:57 > 0:44:59So, what do I do? I call David and I say,
0:44:59 > 0:45:02"David, I'm just curious. What kind of music do you hear for it?"
0:45:02 > 0:45:08"Oh, Angelo, just let it float. Make it like the tides of the ocean.
0:45:08 > 0:45:11"Make it kind of cosmic and..." No clue, right?
0:45:12 > 0:45:15I take the lyric, I put it on the piano...
0:45:15 > 0:45:18- I'll play it for you, if you like. - Sure. Please.
0:45:18 > 0:45:22# Sometimes a wind blows
0:45:25 > 0:45:29# And you and I...
0:45:34 > 0:45:38- WOMAN'S VOICE:- # ..float... #
0:45:40 > 0:45:45In this scene, the song Mysteries of Love epitomises the purity of love,
0:45:45 > 0:45:49not the morbid desire Geoffrey felt for Rossellini's character
0:45:49 > 0:45:50when Blue Velvet played.
0:45:53 > 0:45:56The lyric forced me to...
0:45:56 > 0:45:58Even David's description...
0:45:58 > 0:46:02Just something floating and no real time,
0:46:02 > 0:46:05no rhymes, no hooks.
0:46:05 > 0:46:10# ..And the mysteries of love... #
0:46:10 > 0:46:13Lynch had started out wanting to include one pop track in his film
0:46:13 > 0:46:18and ended up co-writing a brand-new one but, more importantly,
0:46:18 > 0:46:20he'd found himself a musical soul mate.
0:46:20 > 0:46:22Angelo Badalamenti has gone on to score pretty much
0:46:22 > 0:46:24all of Lynch's films since
0:46:24 > 0:46:27and I think there's a reason for that.
0:46:27 > 0:46:32His music is the sound of Lynch's world with all its paradoxes.
0:46:32 > 0:46:35It's cold but, at the same time, it's very warm.
0:46:35 > 0:46:38It's nostalgic and yet it's very, very modern.
0:46:38 > 0:46:40And, to be frank, for me,
0:46:40 > 0:46:45David Lynch's films couldn't work without Badalamenti's music.
0:46:46 > 0:46:52One day in 1989, the pair sat down at Badalamenti's piano
0:46:52 > 0:46:53and, in a single take,
0:46:53 > 0:46:57wrote the theme for a groundbreaking new television series.
0:46:59 > 0:47:02David comes in. "Angelo, now we're really pals."
0:47:02 > 0:47:07And he says, "We're in a dark wood."
0:47:07 > 0:47:09And I'm going like...
0:47:09 > 0:47:11PLAYS MOODY PIANO MUSIC
0:47:11 > 0:47:15"No, Angelo, those are beautiful notes but can you do them slower?"
0:47:15 > 0:47:16OK.
0:47:16 > 0:47:17PLAYS PIANO SLOWER
0:47:20 > 0:47:22"No, no, Angelo, slower."
0:47:22 > 0:47:24I said, "David, if we do it any slower,
0:47:24 > 0:47:26"I'm going to play in reverse."
0:47:31 > 0:47:36"OK, Angelo, now there's a girl named Laura Palmer...
0:47:36 > 0:47:40"She's a very troubled teenager,
0:47:40 > 0:47:43"and she's in the dark woods and she's coming out
0:47:43 > 0:47:44"behind some trees.
0:47:45 > 0:47:47"She's very beautiful, too.
0:47:48 > 0:47:50"Give me something that's her."
0:47:50 > 0:47:54SAD PIANO MUSIC PLAYS
0:48:00 > 0:48:02"That's it, Angelo.
0:48:02 > 0:48:06"Now let it build, cos she's coming closer and she's so troubled.
0:48:10 > 0:48:15"She's got tears in her eyes. Angelo, it's so sad. Reach a climax.
0:48:18 > 0:48:20"That's it. Just keep it going.
0:48:25 > 0:48:30"Beautiful. Beautiful. Now, start coming down
0:48:30 > 0:48:35"but fall slowly. Come slowly, slowly down, down.
0:48:36 > 0:48:38"That's it.
0:48:38 > 0:48:40"That's it.
0:48:40 > 0:48:42"Quiet.
0:48:42 > 0:48:45"Now, Angelo, go back into the dark woods...
0:48:48 > 0:48:51"..and stay there.
0:48:51 > 0:48:53"There's an owl in the background."
0:48:56 > 0:49:00He said, "Angelo, you just wrote Twin Peaks."
0:49:06 > 0:49:08From a starting point in pop, Badalamenti
0:49:08 > 0:49:12and Lynch formed a fertile partnership of director
0:49:12 > 0:49:16and composer almost unparalleled in contemporary cinema.
0:49:18 > 0:49:22But could a truly creative director ever insist, in effect,
0:49:22 > 0:49:25that he wouldn't touch a composer with a bargepole?
0:49:27 > 0:49:30As a composer, I rather took against Quentin Tarantino,
0:49:30 > 0:49:33gifted filmmaker though he is,
0:49:33 > 0:49:35when he reportedly said that he doesn't use composers
0:49:35 > 0:49:38because he wouldn't trust one with his movies.
0:49:38 > 0:49:41But then, maybe it's my prejudices I should be challenging.
0:49:41 > 0:49:43Maybe he's right.
0:49:43 > 0:49:46Let's see what he gains by not using a composer.
0:49:48 > 0:49:52Tarantino's 1992 debut, Reservoir Dogs, features
0:49:52 > 0:49:55a soundtrack solely consisting of old pop
0:49:55 > 0:49:59and rock songs that the characters hear on a local radio station.
0:50:00 > 0:50:04RADIO PRESENTER: ..super sounds of the '70s continues.
0:50:04 > 0:50:06This embeds the music in the film
0:50:06 > 0:50:09and enables the characters to interact with it,
0:50:09 > 0:50:11as in this notorious torture scene.
0:50:13 > 0:50:20MUSIC: "Stuck In The Middle With You" by Stealers Wheel
0:50:23 > 0:50:26By playing the catchy Stuck In The Middle With You,
0:50:26 > 0:50:28written by Gerry Rafferty and Joe Egan,
0:50:28 > 0:50:33Tarantino lulls the audience into being charmed by Mr Blonde,
0:50:33 > 0:50:37singing along to the song despite the feeling of imminent danger.
0:50:37 > 0:50:39# ..Stuck in the middle with you
0:50:39 > 0:50:41# Yes, I'm stuck in the middle with you... #
0:50:41 > 0:50:45Then, when the violence hits, it's all the more shocking.
0:50:46 > 0:50:50The violence of Reservoir Dogs divided audiences and critics,
0:50:50 > 0:50:52but its soundtrack was hailed as
0:50:52 > 0:50:55one of the finest uses of pop music in a generation.
0:50:57 > 0:51:00So, how does Tarantino get round the tricky issue of being
0:51:00 > 0:51:02allowed to use someone's music in this way?
0:51:04 > 0:51:07Enter music supervisor Karyn Rachtman.
0:51:09 > 0:51:13What does a music supervisor do on a movie?
0:51:13 > 0:51:17Your job can be as basic as licensing every track,
0:51:17 > 0:51:18and just handling the negotiations
0:51:18 > 0:51:20and making sure that you take care of all the rights.
0:51:20 > 0:51:23What happens if you have to then go and say,
0:51:23 > 0:51:25"We may not be able to clear the rights"?
0:51:25 > 0:51:26It happens all the time.
0:51:26 > 0:51:2985% of the movies I've worked on,
0:51:29 > 0:51:31you do not get every song you want.
0:51:31 > 0:51:33During Reservoir Dogs,
0:51:33 > 0:51:37Quentin, when he wrote that script, he had written in the songs.
0:51:37 > 0:51:40Especially with the scene Stuck In The Middle With You,
0:51:40 > 0:51:41that was being shot to.
0:51:41 > 0:51:45So, he had a music supervisor on the film who told him,
0:51:45 > 0:51:48"You can't use any '70s songs." Quentin was devastated.
0:51:48 > 0:51:52And I said, "I will get you Stuck In The Middle With You."
0:51:57 > 0:52:00And I had to get on the phone with Joe Egan
0:52:00 > 0:52:02because I needed him to call the publisher.
0:52:02 > 0:52:06He didn't want to do it and I had to reference things like
0:52:06 > 0:52:08Singin' In The Rain used in Clockwork Orange,
0:52:08 > 0:52:10and how we're paying homage to his song,
0:52:10 > 0:52:14even though somebody's getting their ear cut off by a sick freak.
0:52:14 > 0:52:16You had to tell him the scene, I assume.
0:52:16 > 0:52:18You have to tell him the scene. Yeah, of course.
0:52:18 > 0:52:20After I got him Stuck In The Middle With You,
0:52:20 > 0:52:23Quentin said, "What can I do for you? I appreciate it so much."
0:52:23 > 0:52:26And I said, "You can fire your other music supervisor."
0:52:27 > 0:52:30Karyn Rachtman worked with Tarantino on his follow-up
0:52:30 > 0:52:32to Reservoir Dogs, Pulp Fiction,
0:52:32 > 0:52:36which again featured characters interacting with songs.
0:52:36 > 0:52:38But he didn't think he was going to put a song
0:52:38 > 0:52:40when Bruce Willis was driving in the car
0:52:40 > 0:52:42and he said, "Get me a song."
0:52:44 > 0:52:47# Flowers on the wall... #
0:52:47 > 0:52:49Flowers On The Wall ended up there.
0:52:49 > 0:52:51I just guess I was picturing Bruce Willis
0:52:51 > 0:52:53singing along to something funny.
0:52:53 > 0:52:57With Quentin's movies, the music sometimes lets you go...
0:52:57 > 0:53:00EXHALES DEEPLY
0:53:04 > 0:53:06But this fun musical sing-along is just
0:53:06 > 0:53:09a moment of respite before the violence starts again.
0:53:11 > 0:53:14Motherfucker.
0:53:14 > 0:53:16TYRES SCREECH
0:53:20 > 0:53:24Tarantino's more recent films show that his drive to feature
0:53:24 > 0:53:28the music he loves doesn't just stop with pop and rock.
0:53:28 > 0:53:30He might not want to employ film composers,
0:53:30 > 0:53:33but he seems to own plenty of their soundtracks.
0:53:33 > 0:53:36Listen to this scene from Kill Bill.
0:53:36 > 0:53:39SHE WHISTLES
0:53:39 > 0:53:41The tune Daryl Hannah is whistling was
0:53:41 > 0:53:46written by Bernard Herrmann for the 1968 film Twisted Nerve.
0:53:47 > 0:53:49And remember this one?
0:53:49 > 0:53:51SPAGHETTI WESTERN MUSIC PLAYS
0:53:54 > 0:53:57Ennio Morricone's music for the climactic
0:53:57 > 0:53:59shootout in A Fistful Of Dollars.
0:54:03 > 0:54:06Tarantino, a master of utilising the pop song,
0:54:06 > 0:54:08uses composers all right,
0:54:08 > 0:54:11but only when their music is already iconic,
0:54:11 > 0:54:16revealing the debt even he owes to the history of the movie soundtrack.
0:54:18 > 0:54:21When it comes to respecting tradition,
0:54:21 > 0:54:24one cinema franchise more than any other requires its composed
0:54:24 > 0:54:26to acknowledge its musical heritage.
0:54:29 > 0:54:33For Casino Royale, composer David Arnold faced the challenge
0:54:33 > 0:54:37of rebooting the legacy of John Barry for a contemporary audience,
0:54:37 > 0:54:3920 Bond movies on from Dr No.
0:54:41 > 0:54:45It was kind of classic back to sort of Barry,
0:54:45 > 0:54:47back to basics, the spirit of it,
0:54:47 > 0:54:50the wailing brass, the seductive strings,
0:54:50 > 0:54:53but knowing it's a different world.
0:54:53 > 0:54:57Casino Royale would be the first Bond movie to star Daniel Craig.
0:54:58 > 0:55:02Arnold's score had to reflect this tougher and more physical 007.
0:55:09 > 0:55:14The music was modelled on Daniel's movement, muscularity,
0:55:14 > 0:55:16his attitude, the way he looked...
0:55:16 > 0:55:19So, you're actually scoring body language...
0:55:19 > 0:55:21Bond's not one for saying an awful lot.
0:55:25 > 0:55:27The music is accompanying him moving.
0:55:31 > 0:55:35But Casino Royale is also an origin tale,
0:55:35 > 0:55:38explaining how Bond becomes a fully fledged super spy.
0:55:38 > 0:55:41This presented Arnold with an interesting opportunity to
0:55:41 > 0:55:44work with the classic Bond theme.
0:55:44 > 0:55:47He deliberately didn't play the Bond theme during that
0:55:47 > 0:55:50film in its entirety until the very end of the picture.
0:55:50 > 0:55:51Erm...
0:55:51 > 0:55:56because it felt like he wasn't that character yet.
0:55:56 > 0:55:59When he wins the DB5 in the game of cards,
0:55:59 > 0:56:01the first time you kind of hint at that...
0:56:01 > 0:56:02HE HUMS GENTLY
0:56:10 > 0:56:12The first time he puts the dinner jacket on.
0:56:12 > 0:56:14He gets the tuxedo and he straighten his tie,
0:56:14 > 0:56:16and he looks at himself in the mirror and you think,
0:56:16 > 0:56:17"OK, that's a bit closer."
0:56:21 > 0:56:23SHE LAUGHS
0:56:26 > 0:56:28And then ultimately, at the end of the film,
0:56:28 > 0:56:30when he says, "The name's Bond - James Bond."
0:56:30 > 0:56:32There you are. Hello.
0:56:35 > 0:56:38The name's Bond - James Bond.
0:56:41 > 0:56:44It's only when these four seconds of black appear that we hear
0:56:44 > 0:56:48the Bond theme in full, just in time for the credits to roll.
0:56:48 > 0:56:51BOND THEME PLAYS
0:56:51 > 0:56:52David Arnold's music
0:56:52 > 0:56:55helped give the Bond franchise a new lease of life.
0:57:00 > 0:57:04And, in 2013, Skyfall, performed and co-written by Adele,
0:57:04 > 0:57:07became the first Bond song to win an Academy Award.
0:57:09 > 0:57:12# Let the sky fall
0:57:12 > 0:57:15# When it crumbles
0:57:15 > 0:57:17# We will stand tall... #
0:57:17 > 0:57:20The song carries its heritage proudly.
0:57:20 > 0:57:21The powerful chorus...
0:57:23 > 0:57:25# ..Let the sky fall
0:57:25 > 0:57:28# When it crumbles
0:57:28 > 0:57:30# We will stand tall... #
0:57:32 > 0:57:35The classic Bond chord progression it incorporates...
0:57:35 > 0:57:39# ..That sky falls
0:57:40 > 0:57:43# That sky falls... #
0:57:43 > 0:57:47And, crucially, the careful casting of the performer,
0:57:47 > 0:57:52following a tradition that began with Shirley Bassey and Goldfinger.
0:57:52 > 0:57:57I don't think you would necessarily expect to see Adele in a scene
0:57:57 > 0:58:01but the sound of her voice says, "This could belong in Bond's world."
0:58:06 > 0:58:08Pop may once have been a cinematic upstart,
0:58:08 > 0:58:12but now it's so well established it can draw on its own tradition.
0:58:12 > 0:58:15Today's audience enjoys films that can move seamlessly
0:58:15 > 0:58:18between the orchestral score and the energy of popular music,
0:58:18 > 0:58:21making soundtracks more diverse, forceful and relevant.
0:58:22 > 0:58:25This has become the modern sound of cinema.
0:58:27 > 0:58:31Next time, the film score goes electronic.
0:58:31 > 0:58:34How technology pushed the boundaries of the soundtrack.
0:58:39 > 0:58:44MUSIC: "Skyfall" by Adele, instrumental arrangement
0:58:58 > 0:59:01Subtitles By Red Bee Media Ltd