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This programme contains very strong language. | 0:00:02 | 0:00:05 | |
For much of the 20th century, our idea of cinema music was classical, | 0:00:05 | 0:00:08 | |
symphonic, stately even. | 0:00:08 | 0:00:11 | |
MUSIC: "Jumpin' Jack Flash" by The Rolling Stones | 0:00:11 | 0:00:14 | |
But might this also be film music? | 0:00:14 | 0:00:16 | |
A pop hit by The Rolling Stones turned up to full volume, | 0:00:16 | 0:00:20 | |
-driving the action. -# Watch it! # | 0:00:20 | 0:00:23 | |
MARTIN SCORSESE: 'The music I knew, and the music that scored my life, | 0:00:25 | 0:00:28 | |
'is the music I heard growing up | 0:00:28 | 0:00:29 | |
'and the music that was around me at the time.' | 0:00:29 | 0:00:32 | |
And that was the music that propelled all the action in the story. | 0:00:32 | 0:00:37 | |
Mean Streets was the most extreme expression yet of how | 0:00:37 | 0:00:41 | |
popular music had pushed aside the symphonic tradition | 0:00:41 | 0:00:45 | |
to take hold of the film score. | 0:00:45 | 0:00:47 | |
As new musical genres like rock, pop and disco were born, | 0:00:47 | 0:00:51 | |
they reverberated throughout cinema. | 0:00:51 | 0:00:53 | |
MUSIC: "A Hard Day's Night" by The Beatles | 0:00:53 | 0:00:56 | |
Popular music revitalised the soundtrack, | 0:00:56 | 0:01:00 | |
and indeed the movies themselves. | 0:01:00 | 0:01:02 | |
More distinctive, simpler, more direct, more memorable. | 0:01:02 | 0:01:06 | |
It was music that appealed to a younger audience | 0:01:06 | 0:01:09 | |
and to a new generation of composers | 0:01:09 | 0:01:11 | |
and directors who knew how to use it. | 0:01:11 | 0:01:14 | |
These composers pushed the film score in fresh, exciting directions... | 0:01:14 | 0:01:18 | |
..composers like John Barry. | 0:01:19 | 0:01:22 | |
MUSIC: "James Bond Theme" by John Barry Orchestra | 0:01:22 | 0:01:26 | |
Those screaming horns are giving us a tremendous sense of power and sex. | 0:01:28 | 0:01:33 | |
And Lalo Schifrin, | 0:01:35 | 0:01:37 | |
whose cool jazz beats gave an inner voice to iconic movie stars. | 0:01:37 | 0:01:42 | |
MUSIC: "Bullitt Theme" by Lalo Schifrin | 0:01:42 | 0:01:46 | |
'Steve McQueen, he said,' | 0:01:46 | 0:01:48 | |
"Bullitt is a very simple guy. | 0:01:48 | 0:01:50 | |
"I want you to write a simple theme." | 0:01:50 | 0:01:52 | |
It was pop arranger Ennio Morricone who orchestrated this, | 0:01:56 | 0:02:00 | |
one of the greatest gunfights in cinema. | 0:02:00 | 0:02:03 | |
Here the characters are choreographed to the music | 0:02:08 | 0:02:10 | |
in an almost operatic way. | 0:02:10 | 0:02:12 | |
But pop has also been used for commercial | 0:02:13 | 0:02:16 | |
rather than creative reasons, | 0:02:16 | 0:02:18 | |
to help fund and promote big-budget movies. | 0:02:18 | 0:02:21 | |
MUSIC: "Take My Breath Away" by Berlin | 0:02:21 | 0:02:25 | |
MUSIC: "Misirlou" by Dick Dale | 0:02:25 | 0:02:28 | |
And when the most influential director of his generation | 0:02:28 | 0:02:31 | |
decides he can get rid of original scores altogether, | 0:02:31 | 0:02:34 | |
has the use of popular music in film gone too far? | 0:02:34 | 0:02:37 | |
Is it really possible to cut out the composer | 0:02:39 | 0:02:42 | |
and still make a musically great film? | 0:02:42 | 0:02:44 | |
JAZZ MUSIC PLAYS | 0:02:56 | 0:02:59 | |
In the late 1940s, | 0:03:02 | 0:03:04 | |
cities across America were buzzing with a new style of jazz. | 0:03:04 | 0:03:08 | |
More exciting, less predictable, more like the sound of real life. | 0:03:08 | 0:03:15 | |
But it was far removed from the discipline of | 0:03:15 | 0:03:18 | |
a traditional film score. | 0:03:18 | 0:03:20 | |
And Hollywood cinema wasn't ready for it, | 0:03:20 | 0:03:23 | |
until a film came along in 1951 which would be the perfect vehicle. | 0:03:23 | 0:03:29 | |
A Streetcar Named Desire boasted the first all-jazz score. | 0:03:30 | 0:03:35 | |
And it's one of those movies I can remember seeing for the first time. | 0:03:35 | 0:03:38 | |
I was completely blown away by the jazz - the immediacy of it. | 0:03:38 | 0:03:42 | |
The physicality, too. | 0:03:42 | 0:03:44 | |
And if it had that effect on me in the 1980s, | 0:03:44 | 0:03:47 | |
think what it did to audiences in 1951. | 0:03:47 | 0:03:50 | |
A Streetcar Named Desire stars Marlon Brando as Stanley. | 0:03:52 | 0:03:56 | |
The arrival of his unstable sister-in-law Blanche, | 0:03:56 | 0:03:59 | |
played by Vivienne Leigh, causes sexual tension, | 0:03:59 | 0:04:02 | |
which leads to her breakdown. | 0:04:02 | 0:04:04 | |
You can hear the seeds of this in the music | 0:04:04 | 0:04:07 | |
from their very first encounter. | 0:04:07 | 0:04:10 | |
SLOW JAZZ MUSIC | 0:04:10 | 0:04:14 | |
The soundtrack was the debut film score of Alex North, | 0:04:18 | 0:04:22 | |
a modernist composer who loved jazz | 0:04:22 | 0:04:24 | |
and had long wondered | 0:04:24 | 0:04:27 | |
if its essence could be captured in a more classical musical structure. | 0:04:27 | 0:04:31 | |
With Streetcar, North harnessed the rhythms and harmonies of jazz | 0:04:31 | 0:04:35 | |
to emphasise the complex chemistry between the characters. | 0:04:35 | 0:04:39 | |
As soon as Stanley walks in the room, | 0:04:39 | 0:04:42 | |
you get this brilliant jazz riff. | 0:04:42 | 0:04:45 | |
HE PLAYS PIANO | 0:04:45 | 0:04:47 | |
It's got a march to it, a sort of step. | 0:04:50 | 0:04:53 | |
It's like the march of fate - he will be her nemesis. | 0:04:53 | 0:04:56 | |
Over that we get these gorgeous two sax solos. | 0:04:56 | 0:05:01 | |
One of them starts almost straightaway, | 0:05:01 | 0:05:04 | |
which is kind of Stanley. | 0:05:04 | 0:05:06 | |
-You must be Stanley. I'm Blanche. -Oh, you're Stella's sister. | 0:05:11 | 0:05:16 | |
-Yes. -Oh, hi. | 0:05:17 | 0:05:20 | |
There's a real sense that Stanley's there in all his sweaty glory. | 0:05:20 | 0:05:24 | |
We suddenly hear another sax solo, | 0:05:24 | 0:05:26 | |
which immediately begins to climb higher and higher and higher | 0:05:26 | 0:05:30 | |
until it almost gets within a range beyond which it can't go. | 0:05:30 | 0:05:34 | |
That is Blanche. | 0:05:34 | 0:05:36 | |
Hey, you mind if I make myself comfortable? | 0:05:40 | 0:05:42 | |
-My shirt is sticking to me. -Please, please do. | 0:05:42 | 0:05:45 | |
That sax solo is telling us what she's feeling. | 0:05:45 | 0:05:49 | |
And she's already close to breakdown. | 0:05:49 | 0:05:52 | |
These are all moments in the scene that simply couldn't be | 0:05:52 | 0:05:54 | |
put across any other way. | 0:05:54 | 0:05:56 | |
And what the instruments are doing is being played in a way | 0:05:56 | 0:05:59 | |
whereby you can hear the breath, you can hear the notes | 0:05:59 | 0:06:02 | |
moving around, you can hear them being bent and changed. | 0:06:02 | 0:06:05 | |
And it begins to sound like a human voice. | 0:06:05 | 0:06:08 | |
When you add that sound to a scene, there's a real sense of physicality, | 0:06:08 | 0:06:13 | |
humanity, if you like, | 0:06:13 | 0:06:15 | |
something which you couldn't get out of classical music | 0:06:15 | 0:06:18 | |
but which jazz gives you from the first second you hear a note. | 0:06:18 | 0:06:22 | |
But this is no ordinary love triangle. | 0:06:22 | 0:06:25 | |
Despite Blanche's attraction to Stanley, it's Stella, his wife, | 0:06:25 | 0:06:30 | |
with her unavoidable sexual power, who really has a hold over him. | 0:06:30 | 0:06:33 | |
Hey, Stella! | 0:06:33 | 0:06:36 | |
Hey, Stella! | 0:06:38 | 0:06:40 | |
North's score in this scene is doing what all great film music does - | 0:06:40 | 0:06:44 | |
telling us more than we can see, | 0:06:44 | 0:06:46 | |
and in this case, more than the characters will actually tell us. | 0:06:46 | 0:06:50 | |
This scene's about desire. | 0:06:50 | 0:06:52 | |
You can hear in every note of that sax how Stanley feels about Stella | 0:06:52 | 0:06:56 | |
and how she feels about him | 0:06:56 | 0:06:58 | |
and what binds the two of them together. | 0:06:58 | 0:07:01 | |
ATMOSPHERIC JAZZ MUSIC | 0:07:01 | 0:07:03 | |
And that was the problem. | 0:07:08 | 0:07:10 | |
The Legion Of Decency, a self-appointed moral pressure group, | 0:07:10 | 0:07:13 | |
were very powerful at this time. | 0:07:13 | 0:07:16 | |
They saw the scene, heard the music and took exception to both. | 0:07:16 | 0:07:19 | |
The scene had to be cut, and North had to go back and rescore. | 0:07:20 | 0:07:25 | |
Out went the sax to be replaced by strings. | 0:07:25 | 0:07:29 | |
EMOTIONAL MUSIC | 0:07:29 | 0:07:31 | |
Sentimentality took over from sensuality. | 0:07:33 | 0:07:36 | |
And in the version everybody saw, Stella wanted Stanley back. | 0:07:39 | 0:07:43 | |
But in North's original, Stella just wanted Stanley. | 0:07:43 | 0:07:47 | |
Don't ever leave me, baby. | 0:07:52 | 0:07:54 | |
Through the 1950s, jazz expanded the range of film music in America | 0:07:59 | 0:08:04 | |
and drove a wave of gritty dramas whose soundtracks captured | 0:08:04 | 0:08:08 | |
the moral complexities of the characters and stories. | 0:08:08 | 0:08:12 | |
MUSIC: "Beat Girl Theme" by John Barry | 0:08:12 | 0:08:15 | |
Across the Atlantic, | 0:08:15 | 0:08:17 | |
Britain was producing its own socially aware dramas | 0:08:17 | 0:08:20 | |
with contemporary scores to match. | 0:08:20 | 0:08:22 | |
Beat Girl was set in the Soho beat scene. | 0:08:29 | 0:08:32 | |
And while its moralistic plot was all a bit trad, its music | 0:08:32 | 0:08:35 | |
harnessed the urgency and energy of jazz-influenced British pop. | 0:08:35 | 0:08:39 | |
Beat Girl was the debut film score by John Barry - | 0:08:42 | 0:08:45 | |
a young composer and arranger who'd had several pop hits | 0:08:45 | 0:08:48 | |
with his own group, The John Barry Seven. | 0:08:48 | 0:08:51 | |
The band's signature sound was driven by catchy guitar riffs | 0:08:54 | 0:08:58 | |
and Barry's own trumpet solos. | 0:08:58 | 0:09:01 | |
Barry's real ambition was to have a career as a pop star, | 0:09:01 | 0:09:05 | |
and he only landed the Beat Girl job | 0:09:05 | 0:09:07 | |
because he shared the same manager as the film's star, Adam Faith. | 0:09:07 | 0:09:11 | |
# I did what you told me... # | 0:09:11 | 0:09:14 | |
But maybe it was predestined. | 0:09:14 | 0:09:16 | |
Barry's father had run a cinema chain | 0:09:16 | 0:09:18 | |
and, as a child, he'd lapped up movies. | 0:09:18 | 0:09:21 | |
John Barry worked here in Soho, the heart of London's film | 0:09:22 | 0:09:25 | |
and music industries, Tin Pan Alley. | 0:09:25 | 0:09:29 | |
He even used a strip club as a rehearsal space for his band, | 0:09:29 | 0:09:32 | |
The John Barry Seven. | 0:09:32 | 0:09:34 | |
I think you can hear those influences in the job that he did | 0:09:34 | 0:09:37 | |
arranging and performing the theme to the first James Bond film, Dr No. | 0:09:37 | 0:09:42 | |
MUSIC: "Dr No Theme" by John Barry Orchestra | 0:09:42 | 0:09:45 | |
Dr No's opening titles are animated entirely around the rhythm | 0:09:45 | 0:09:49 | |
of the music - pushing it to the fore. | 0:09:49 | 0:09:52 | |
You can't ignore the swagger of the guitar | 0:09:52 | 0:09:54 | |
and the almost sleazy quality of the horns. | 0:09:54 | 0:09:57 | |
Barry was brought in to arrange this theme from a tune | 0:10:03 | 0:10:06 | |
written by big-band singer Monty Norman. | 0:10:06 | 0:10:09 | |
I never saw the movie. | 0:10:09 | 0:10:11 | |
I never met Saltzman and Broccoli. I never met the director. | 0:10:11 | 0:10:13 | |
I never even read a script. I just knew Bond. | 0:10:13 | 0:10:17 | |
I think it was in the Daily Mail, | 0:10:17 | 0:10:19 | |
there was a strip of Bond, which I'd occasionally looked at. | 0:10:19 | 0:10:24 | |
So I knew what it was about. | 0:10:24 | 0:10:27 | |
Monty Norman's theme for Dr No was based on a number | 0:10:27 | 0:10:30 | |
he'd written for a musical. And it went like this. | 0:10:30 | 0:10:33 | |
HE PLAYS DR NO MELODY | 0:10:33 | 0:10:36 | |
So what John Barry did in his arrangement was bring to it | 0:10:37 | 0:10:41 | |
everything he understood about pop and jazz. | 0:10:41 | 0:10:43 | |
First of all, he kept that melody line but he gave it to | 0:10:43 | 0:10:46 | |
the twangy guitar that he understood so well | 0:10:46 | 0:10:48 | |
from the John Barry Seven days. | 0:10:48 | 0:10:50 | |
Then he added a real driver behind it, which is | 0:10:50 | 0:10:53 | |
this deep bass brass sound. | 0:10:53 | 0:10:55 | |
HE PLAYS THEME | 0:10:55 | 0:10:58 | |
Then he arranged this fabulous middle eight, which takes the music | 0:11:03 | 0:11:07 | |
and the film on to a different level. | 0:11:07 | 0:11:09 | |
HE PLAYS THEME | 0:11:09 | 0:11:12 | |
That screaming horn section | 0:11:16 | 0:11:18 | |
has an extraordinary confidence and raciness. | 0:11:18 | 0:11:20 | |
But it's also deeply pop. It's deeply jazz. | 0:11:22 | 0:11:24 | |
It's got a wonderful kind of mishmash of all the things | 0:11:24 | 0:11:27 | |
that John Barry understood. | 0:11:27 | 0:11:29 | |
MUSIC: "Dr No Theme" by John Barry Orchestra | 0:11:29 | 0:11:32 | |
John Barry got paid 250 quid for his arrangement of the Bond theme. | 0:11:37 | 0:11:41 | |
And it wasn't until he queued up with everybody else to see | 0:11:41 | 0:11:44 | |
Dr No at the cinema that he realised how ubiquitous the theme was. | 0:11:44 | 0:11:47 | |
He contacted the producers, saying, "I arranged your opening title | 0:11:47 | 0:11:51 | |
"music, I didn't expect to hear it sploshed through the whole film. | 0:11:51 | 0:11:54 | |
"Can I have some more money?" | 0:11:54 | 0:11:56 | |
They said, "No, but you can score the next one. | 0:11:56 | 0:11:59 | |
"If there is a next one." | 0:11:59 | 0:12:00 | |
In fact, Barry went on to score 11 Bond movies. | 0:12:00 | 0:12:04 | |
And you can hear the difference when he's not just an arranger | 0:12:04 | 0:12:07 | |
but a fully fledged composer in his own right. | 0:12:07 | 0:12:10 | |
MUSIC: "Goldfinger" by Shirley Bassey | 0:12:10 | 0:12:14 | |
For Goldfinger, Barry drew from his pop contacts, | 0:12:22 | 0:12:26 | |
casting Shirley Bassey to sing the title song. | 0:12:26 | 0:12:29 | |
LOUD KISS | 0:12:30 | 0:12:33 | |
# It's the kiss of death | 0:12:33 | 0:12:37 | |
# From Mr Goldfinger... # | 0:12:37 | 0:12:40 | |
From now on, every Bond movie's title number would be | 0:12:40 | 0:12:44 | |
performed by a leading pop star of the day. | 0:12:44 | 0:12:47 | |
And the song would help sell the movie. | 0:12:47 | 0:12:49 | |
# ..His heart is cold | 0:12:49 | 0:12:52 | |
# He loves only gold... # | 0:12:52 | 0:12:54 | |
Having firmly established his Goldfinger theme | 0:12:54 | 0:12:58 | |
in the opening song, Barry runs it | 0:12:58 | 0:12:59 | |
though a series of symphonic variations throughout the film, | 0:12:59 | 0:13:04 | |
as when Bond pursues Goldfinger through the Swiss Alps. | 0:13:04 | 0:13:08 | |
VARIATION ON BOND THEME PLAYS | 0:13:08 | 0:13:11 | |
And here, Barry seamlessly switches from the original Bond theme | 0:13:14 | 0:13:17 | |
to the Goldfinger tune. | 0:13:17 | 0:13:20 | |
MUSIC PLAYS | 0:13:20 | 0:13:24 | |
He's on the move. | 0:13:24 | 0:13:26 | |
Although his music's origins are rooted in pop and jazz, | 0:13:36 | 0:13:39 | |
Barry was also scoring the characters with their own themes - | 0:13:39 | 0:13:43 | |
in a way traditional Hollywood composers would have understood. | 0:13:43 | 0:13:46 | |
Barry's success showed how the worlds of film | 0:13:47 | 0:13:50 | |
and pop music were drawing ever closer together. | 0:13:50 | 0:13:54 | |
But throughout the '60s, although pop was becoming an ally of film, | 0:13:59 | 0:14:03 | |
it also threatened to pull young audiences away from the movies, | 0:14:03 | 0:14:07 | |
overtaking them in popularity. | 0:14:07 | 0:14:10 | |
MUSIC: "A Hard Day's Night" by The Beatles | 0:14:10 | 0:14:12 | |
So, with a strident guitar chord and an opening shot that captures | 0:14:14 | 0:14:20 | |
the tidal wave of fan hysteria, | 0:14:20 | 0:14:22 | |
one film set out directly to embrace the pop phenomenon. | 0:14:22 | 0:14:27 | |
A Hard Day's Night - the first film to feature The Beatles, | 0:14:29 | 0:14:32 | |
the world's biggest pop band. | 0:14:32 | 0:14:35 | |
Nobody had ever seen anything like it before. | 0:14:35 | 0:14:37 | |
But then that was the idea. | 0:14:37 | 0:14:39 | |
A young generation could tell straightaway, | 0:14:39 | 0:14:42 | |
this was a movie aimed directly at them. | 0:14:42 | 0:14:45 | |
# So why on earth should I moan | 0:14:45 | 0:14:47 | |
# Cos when I get you alone | 0:14:47 | 0:14:49 | |
# You know I feel OK... # | 0:14:49 | 0:14:52 | |
Director Richard Lester faced a unique challenge. | 0:14:52 | 0:14:56 | |
He had to choose songs which had already been | 0:14:56 | 0:14:59 | |
recorded by The Beatles before a script had even been written | 0:14:59 | 0:15:02 | |
and somehow construct a film that made sense. | 0:15:02 | 0:15:05 | |
We were given ten songs and I rejected two. | 0:15:06 | 0:15:10 | |
You sit down, | 0:15:10 | 0:15:12 | |
given this bag of toys, of wonderful songs, | 0:15:12 | 0:15:16 | |
and you think, | 0:15:16 | 0:15:18 | |
"I can't see where this can go." | 0:15:18 | 0:15:20 | |
The only thing that bound these songs together was the band. | 0:15:23 | 0:15:27 | |
So Lester looked to The Beatles themselves for ideas about how | 0:15:27 | 0:15:31 | |
to build his sequences. | 0:15:31 | 0:15:34 | |
They all had a fairly developed sense of the surreal. | 0:15:34 | 0:15:38 | |
The first thing I tried to do with the film is to let the audience | 0:15:38 | 0:15:43 | |
know that things were not going to be a straightforward documentary | 0:15:43 | 0:15:49 | |
narrative of a day in the life of The Beatles. | 0:15:49 | 0:15:54 | |
Aye-aye, the Liverpool shuffle. | 0:15:54 | 0:15:56 | |
In this scene, | 0:15:56 | 0:15:58 | |
the band magically switch from playing cards to playing a song. | 0:15:58 | 0:16:03 | |
MUSIC: "I Should Have Known Better" by The Beatles | 0:16:03 | 0:16:06 | |
# Whoa-whoa I... # | 0:16:07 | 0:16:10 | |
It was saying to the audience, "You see, life is not as you think it is. | 0:16:10 | 0:16:15 | |
"There is a surreal quality to them." | 0:16:15 | 0:16:17 | |
# Can't you see? Can't you see? # | 0:16:17 | 0:16:21 | |
The whole of Hard Day's Night was starting out of them | 0:16:21 | 0:16:28 | |
being ordered about in small spaces. | 0:16:28 | 0:16:32 | |
And no messing about. | 0:16:32 | 0:16:34 | |
Lennon, put them girls down or I'll tell your mother of you. | 0:16:34 | 0:16:36 | |
'Being yelled at and being chased by people, | 0:16:36 | 0:16:41 | |
'and that sudden sense of relief.' | 0:16:41 | 0:16:43 | |
We're out! | 0:16:43 | 0:16:46 | |
MUSIC: "Can't Buy Me Love" by The Beatles | 0:16:46 | 0:16:48 | |
'When they break out and run down a staircase and out into a field.' | 0:16:48 | 0:16:53 | |
# I'll buy you a diamond ring... # | 0:16:53 | 0:16:56 | |
CHEERING | 0:16:56 | 0:16:58 | |
The success of A Hard Day's Night showed how pop music | 0:16:58 | 0:17:02 | |
could get younger audiences flocking to the cinema. | 0:17:02 | 0:17:04 | |
Hollywood had also seen how the wind was blowing. | 0:17:12 | 0:17:15 | |
And leading the way was Walt Disney. | 0:17:15 | 0:17:18 | |
Looking to appeal to children and parents alike, | 0:17:18 | 0:17:21 | |
Disney realised his new composers had to be au fait with the pop song. | 0:17:21 | 0:17:25 | |
He signed up the songwriting duo brothers Richard | 0:17:25 | 0:17:28 | |
and Robert Sherman, creators of the smash hit You're Sixteen. | 0:17:28 | 0:17:32 | |
My dad challenged us to write pop music. | 0:17:34 | 0:17:36 | |
And we started writing pop songs. | 0:17:36 | 0:17:38 | |
And we had some big number one hits with rock 'n' roll songs. | 0:17:38 | 0:17:44 | |
Uncle Walt wanted the brothers to bring their songwriting magic | 0:17:44 | 0:17:48 | |
to a new Disney movie. | 0:17:48 | 0:17:50 | |
He said, "You know what a nanny is?" We said, "Oh, yeah, it's a goat. | 0:17:50 | 0:17:53 | |
"You want to do an animated film about a nanny goat?" | 0:17:53 | 0:17:56 | |
"No, no, no," he says. "It's an English nursemaid." | 0:17:56 | 0:17:59 | |
"Oh, yeah, sure. We can..." | 0:17:59 | 0:18:00 | |
So we read this enchanting series of stories. | 0:18:00 | 0:18:03 | |
The challenge facing the brothers was not only to compose | 0:18:03 | 0:18:07 | |
the songs for Mary Poppins, but to construct a story from these books. | 0:18:07 | 0:18:12 | |
We were reading them with great alarm because we'd say, | 0:18:14 | 0:18:17 | |
"Well, what's the plot? I mean, where is the storyline?" | 0:18:17 | 0:18:20 | |
It was not a storyline at all. | 0:18:20 | 0:18:22 | |
It was just wonderful adventures with this magical nanny | 0:18:22 | 0:18:25 | |
who comes in and does great stuff, and then she leaves. | 0:18:25 | 0:18:29 | |
So we knew we had to do some quick thinking. | 0:18:29 | 0:18:32 | |
Let's come in with a storyline. | 0:18:32 | 0:18:34 | |
MUSIC: "Boiled Beef And Carrots" by Harry Champion | 0:18:34 | 0:18:37 | |
The brothers fused American pop with a more surprising tradition - | 0:18:37 | 0:18:42 | |
English music hall. | 0:18:42 | 0:18:45 | |
# Boiled beef and carrots | 0:18:45 | 0:18:48 | |
# Boiled beef and carrots... # | 0:18:48 | 0:18:49 | |
Their passion for these songs would be | 0:18:49 | 0:18:52 | |
the inspiration behind the film's score, | 0:18:52 | 0:18:54 | |
with the movie set in Edwardian London. | 0:18:54 | 0:18:57 | |
I've always been a fan of English music hall. | 0:18:57 | 0:19:01 | |
Those wonderful old songs. Boiled Beef And Carrots. | 0:19:01 | 0:19:03 | |
All those things like that. | 0:19:03 | 0:19:05 | |
Walt bought that right away. He knew what I was talking about. | 0:19:05 | 0:19:08 | |
We were called in and there were Walt Disney, all of them | 0:19:08 | 0:19:11 | |
singing Knees Up Mother Brown, kicking their feet up in the air. | 0:19:11 | 0:19:15 | |
And they were all out of breath. | 0:19:15 | 0:19:16 | |
And Walt said, "Now, I want you to write me a song like this, right?" | 0:19:16 | 0:19:20 | |
We said, "Yes, Walt, we'll write you a song like that." | 0:19:20 | 0:19:23 | |
So we started with... | 0:19:23 | 0:19:24 | |
# Step in time, step in time | 0:19:24 | 0:19:26 | |
# Step in time, step in time | 0:19:26 | 0:19:27 | |
# You never need a reason, never need a rhyme | 0:19:27 | 0:19:29 | |
# Step in time, you step in time... # | 0:19:29 | 0:19:31 | |
Link your elbows! | 0:19:31 | 0:19:32 | |
# Link your elbows, step in time | 0:19:32 | 0:19:34 | |
# Link your elbows, step in time | 0:19:34 | 0:19:36 | |
# Link your elbows, link your elbows | 0:19:36 | 0:19:37 | |
# Link your elbows... # | 0:19:37 | 0:19:39 | |
That little piece went for 12 minutes. | 0:19:39 | 0:19:42 | |
You know, one of the greatest scenes you've ever seen. | 0:19:42 | 0:19:45 | |
And the Shermans would mix all the ingredients that make a classic | 0:19:45 | 0:19:48 | |
pop song - a memorable lyric, a catchy melody and a potent hook - | 0:19:48 | 0:19:53 | |
to create the film's most-loved tune. | 0:19:53 | 0:19:56 | |
We came up with this nonsense word, | 0:19:59 | 0:20:01 | |
which we decided would be a great gift for Mary Poppins | 0:20:01 | 0:20:04 | |
to give to the children. | 0:20:04 | 0:20:05 | |
So we said, "Let's give them | 0:20:05 | 0:20:07 | |
"a really, funny, crazy, obnoxious word." | 0:20:07 | 0:20:09 | |
And we started, we said, "It's got to be super colossal." | 0:20:09 | 0:20:12 | |
And super colossal...well, anybody would write super colossal. | 0:20:12 | 0:20:15 | |
So we said, "Super something, super crazy, | 0:20:15 | 0:20:18 | |
"super caga...flava...slava... | 0:20:18 | 0:20:21 | |
"Supercali... supercalifragilistic! A-ha!" And then, we had... | 0:20:21 | 0:20:25 | |
# Um diddle diddle diddle um diddle ay um diddle diddle diddle um | 0:20:25 | 0:20:28 | |
# Because I was afraid to speak When I was just a lad | 0:20:28 | 0:20:31 | |
# Me father gave me nose a tweak And told me I was bad... | 0:20:31 | 0:20:34 | |
# But then one day I learned a word That saved me aching nose | 0:20:34 | 0:20:38 | |
# The biggest word you ever heard And this is how it goes, oh! | 0:20:38 | 0:20:41 | |
# Supercalifragilisticexpialidocious | 0:20:41 | 0:20:44 | |
# Even though the sound of it Is something quite atrocious | 0:20:44 | 0:20:47 | |
# If you say it loud enough You'll always sound precocious | 0:20:47 | 0:20:50 | |
# Supercalifragilisticexpialidocious | 0:20:50 | 0:20:52 | |
# Um diddle diddle diddle um diddle ay um diddle diddle diddle um diddle ay... # | 0:20:52 | 0:20:56 | |
These songs earned the Sherman Brothers two Academy Awards. | 0:20:56 | 0:21:00 | |
# I've reached the top And had to stop | 0:21:00 | 0:21:02 | |
# And that's what bothering me... # | 0:21:02 | 0:21:04 | |
Their knack for writing pop tunes would underlie the huge success | 0:21:04 | 0:21:08 | |
they went on to enjoy with other classic Disney movies, | 0:21:08 | 0:21:11 | |
like The Jungle Book. | 0:21:11 | 0:21:13 | |
# ..I'm tired of monkeying around! | 0:21:13 | 0:21:16 | |
# Oh, oobee doo | 0:21:16 | 0:21:17 | |
# I wanna be like you | 0:21:17 | 0:21:20 | |
# I wanna walk like you Talk like you... # | 0:21:20 | 0:21:24 | |
The Shermans had applied their pop sensibility | 0:21:24 | 0:21:26 | |
to reinvigorate the animated musical. | 0:21:26 | 0:21:30 | |
But in Europe, an entirely different film genre | 0:21:30 | 0:21:33 | |
would unexpectedly be changed by a pop composer. | 0:21:33 | 0:21:36 | |
This is the opening of A Fistful Of Dollars, | 0:21:39 | 0:21:43 | |
its bold graphics and striking music a declaration | 0:21:43 | 0:21:46 | |
that the spaghetti Western had arrived. | 0:21:46 | 0:21:49 | |
Italian filmmakers were giving new life | 0:21:51 | 0:21:53 | |
to one of the oldest genres of cinema. | 0:21:53 | 0:21:56 | |
Written by Ennio Morricone, | 0:21:56 | 0:21:58 | |
this title theme boasts the kind of elements | 0:21:58 | 0:22:00 | |
that made his sound so distinctive - | 0:22:00 | 0:22:03 | |
the melody, the whistles, | 0:22:03 | 0:22:05 | |
the recording of a whip crack. | 0:22:05 | 0:22:07 | |
HORSE TROTTING | 0:22:08 | 0:22:10 | |
GUNSHOTS | 0:22:10 | 0:22:12 | |
This use of real world sounds came from Morricone's time | 0:22:14 | 0:22:17 | |
as an arranger of Italian pop records. | 0:22:17 | 0:22:20 | |
TRANSLATION FROM ITALIAN: | 0:22:21 | 0:22:24 | |
The music for A Fistful Of Dollars was based on a pop record | 0:22:39 | 0:22:42 | |
that Morricone had arranged called Pastures Of Plenty, | 0:22:42 | 0:22:46 | |
which had impressed director Sergio Leone. | 0:22:46 | 0:22:49 | |
# We come with the dust | 0:22:49 | 0:22:51 | |
# And we're gone with the wind | 0:22:51 | 0:22:54 | |
# Oh, oooh, oooh, oooh... # | 0:22:54 | 0:22:59 | |
Leone and Morricone had been friends since childhood, | 0:22:59 | 0:23:03 | |
but Leone also knew that the innovation Morricone had shown | 0:23:03 | 0:23:06 | |
on his pop records could deliver something special | 0:23:06 | 0:23:09 | |
despite a tight budget. | 0:23:09 | 0:23:11 | |
Morricone brings his own sensibility to the Western, | 0:23:13 | 0:23:16 | |
he mixes his kind of idea of '60s music and modern sounds | 0:23:16 | 0:23:20 | |
and very individualistic sounds with the idea of the Old West, | 0:23:20 | 0:23:24 | |
the Spanish guitar, the whistle, this sense of folk music. | 0:23:24 | 0:23:29 | |
And here, he combines these with the 19th-century European device | 0:23:29 | 0:23:33 | |
of the leitmotif. | 0:23:33 | 0:23:35 | |
So out of that title music, when we first see Clint Eastwood, | 0:23:35 | 0:23:39 | |
The Man With No Name, | 0:23:39 | 0:23:40 | |
he gets his own little motif. | 0:23:40 | 0:23:42 | |
FLUTE PLAYS | 0:23:42 | 0:23:45 | |
Just a little flute... | 0:23:45 | 0:23:48 | |
But then, when he is spotted by the villain, you get this. | 0:23:48 | 0:23:51 | |
PIANO PLAYS | 0:23:53 | 0:23:55 | |
And it's got a little bit more of a sense of danger about it. | 0:23:55 | 0:23:59 | |
PIANO PLAYS | 0:23:59 | 0:24:01 | |
And above that comes a Japanese flute, | 0:24:03 | 0:24:05 | |
which to me says | 0:24:05 | 0:24:07 | |
Yojimbo, which is the Japanese epic | 0:24:07 | 0:24:08 | |
on which this film was entirely based. | 0:24:08 | 0:24:11 | |
So now, Eastwood is a samurai. | 0:24:11 | 0:24:13 | |
This is what Morricone does, | 0:24:13 | 0:24:15 | |
he drops these tiny musical ideas into the film throughout, | 0:24:15 | 0:24:19 | |
giving us a different feel, a different sound each time, | 0:24:19 | 0:24:21 | |
sometimes very, very short, just a couple of notes. | 0:24:21 | 0:24:24 | |
Here we have the other great gift that Morricone has, | 0:24:28 | 0:24:31 | |
a gift for melody, and not just melody, | 0:24:31 | 0:24:34 | |
a melody that will break your heart. | 0:24:34 | 0:24:36 | |
MELODY PLAYS | 0:24:36 | 0:24:38 | |
Get three coffins ready. | 0:24:38 | 0:24:39 | |
But often, a melody that is placed | 0:24:42 | 0:24:44 | |
either before or during the most violent moments of these films, | 0:24:44 | 0:24:49 | |
it gives them an extraordinary texture. Listen to this. | 0:24:49 | 0:24:53 | |
MELANCHOLIC PIANO PIECE | 0:24:53 | 0:24:55 | |
MELODY CONTINUES | 0:25:05 | 0:25:07 | |
It's actually still quite a thin sound, | 0:25:16 | 0:25:18 | |
it's a single melodic instrument over a string section, | 0:25:18 | 0:25:20 | |
so it's not full orchestra. | 0:25:20 | 0:25:22 | |
This is partially because of budget, | 0:25:22 | 0:25:24 | |
but also because I think Morricone understands | 0:25:24 | 0:25:27 | |
that we want to hear small textures working under these moments, | 0:25:27 | 0:25:31 | |
but it really makes us root for Clint Eastwood | 0:25:31 | 0:25:34 | |
and gives Clint Eastwood's character a soft side | 0:25:34 | 0:25:38 | |
which is simply not there in the way that he plays it. | 0:25:38 | 0:25:42 | |
By the time we get to the final shootout, | 0:25:46 | 0:25:48 | |
that theme of Eastwood's has become huge. | 0:25:48 | 0:25:50 | |
We now have a trumpet on the lead line, | 0:25:50 | 0:25:53 | |
very Spanish, beautiful. | 0:25:53 | 0:25:55 | |
We have strings behind, we have the voices behind, | 0:25:55 | 0:25:58 | |
so it has an amazing strength. | 0:25:58 | 0:26:00 | |
FULL MELODY PLAYS | 0:26:00 | 0:26:03 | |
And we're now in a world of ritual. | 0:26:10 | 0:26:13 | |
It's as if the music is making the characters choreographed. | 0:26:13 | 0:26:17 | |
They appear to move in time with the music. | 0:26:18 | 0:26:22 | |
MELODY INTENSIFIES | 0:26:22 | 0:26:24 | |
And it gives it a timeless quality, | 0:26:31 | 0:26:34 | |
but it also gives it an operatic quality - | 0:26:34 | 0:26:37 | |
this shootout was inevitable from the first moment of the film | 0:26:37 | 0:26:40 | |
and now the music is giving us the arena within which it can happen. | 0:26:40 | 0:26:44 | |
Scenes like this placed Morricone in the great tradition of composers | 0:26:53 | 0:26:57 | |
who shape not just the sound of a movie, | 0:26:57 | 0:27:00 | |
but its very construction. | 0:27:00 | 0:27:02 | |
In this and his subsequent films with director Sergio Leone, | 0:27:02 | 0:27:06 | |
Morricone was a fully fledged artistic collaborator | 0:27:06 | 0:27:10 | |
in creating the cinematic drama. | 0:27:10 | 0:27:12 | |
The spaghetti Western established a trend for increasingly violent films | 0:27:16 | 0:27:21 | |
with almost wordless heroes, | 0:27:21 | 0:27:23 | |
whose inner nature was expressed through the music. | 0:27:23 | 0:27:27 | |
This method of scoring characters | 0:27:29 | 0:27:31 | |
would make its way into American cinema | 0:27:31 | 0:27:33 | |
through a film shot here, on the West Coast. | 0:27:33 | 0:27:36 | |
I'm driving through San Francisco, it's a beautiful sunny day. | 0:27:38 | 0:27:42 | |
And thanks to the movies, | 0:27:42 | 0:27:44 | |
these are some of the most recognisable streets in the world. | 0:27:44 | 0:27:47 | |
But there's something missing. | 0:27:47 | 0:27:49 | |
JAZZ MUSIC PLAYS | 0:27:49 | 0:27:51 | |
That's more like it. | 0:27:51 | 0:27:52 | |
This is the soundtrack to the movie Bullitt, | 0:28:01 | 0:28:04 | |
set in San Francisco and starring Steve McQueen. | 0:28:04 | 0:28:08 | |
Bullitt was scored by Lalo Schifrin, | 0:28:14 | 0:28:16 | |
an Argentinian-born composer | 0:28:16 | 0:28:18 | |
who'd trained in both classical and jazz music. | 0:28:18 | 0:28:22 | |
He'd worked in Hollywood since the early '60s | 0:28:22 | 0:28:24 | |
and was best known for his theme to TV series Mission: Impossible. | 0:28:24 | 0:28:29 | |
Schifrin had also been mentored by the jazz legend Dizzy Gillespie, | 0:28:34 | 0:28:38 | |
playing with him in New York in the '50s, | 0:28:38 | 0:28:41 | |
and he wanted to inject some of those jazz rhythms and beats | 0:28:41 | 0:28:44 | |
into the soundtrack for Bullitt. | 0:28:44 | 0:28:46 | |
Like Clint Eastwood's gunslinger, | 0:28:50 | 0:28:52 | |
Steve McQueen's detective Frank Bullitt rarely speaks, | 0:28:52 | 0:28:56 | |
but Schifrin's score is his voice. | 0:28:56 | 0:28:59 | |
Steve McQueen, he said, | 0:28:59 | 0:29:01 | |
"Bullitt is a very simple guy. | 0:29:01 | 0:29:03 | |
"I want you to write a simple theme." | 0:29:03 | 0:29:06 | |
McQueen's charisma is that of an ordinary man | 0:29:10 | 0:29:12 | |
required to do extraordinary things. | 0:29:12 | 0:29:14 | |
His almost wordless performance means that we are relying a lot | 0:29:14 | 0:29:18 | |
on how he looks for that charisma. | 0:29:18 | 0:29:21 | |
However, Lalo Schifrin's music gives his every moment, | 0:29:23 | 0:29:26 | |
no matter how mundane, a cool energy. | 0:29:26 | 0:29:29 | |
Bullitt's most famous sequence is ten minutes long | 0:29:35 | 0:29:38 | |
and contains no dialogue, but an awful lot of driving. | 0:29:38 | 0:29:42 | |
What makes it compelling is Lalo Schifrin's score, | 0:29:42 | 0:29:45 | |
which through a couple of very precise gear changes | 0:29:45 | 0:29:48 | |
turns a street game of cat and mouse | 0:29:48 | 0:29:50 | |
into something altogether more deadly. | 0:29:50 | 0:29:53 | |
Here, Schifrin's music focuses | 0:29:56 | 0:29:58 | |
on Bullitt's intense concentration | 0:29:58 | 0:30:00 | |
as he tails a pair of mobsters through the busy streets. | 0:30:00 | 0:30:03 | |
It is insistent but tightly controlled, | 0:30:05 | 0:30:08 | |
as we feel the pressure building up for the inevitable chase. | 0:30:08 | 0:30:12 | |
MUSIC PLAYS | 0:30:12 | 0:30:14 | |
So what will the score do next? | 0:30:17 | 0:30:21 | |
'The director, he asked me to write music for the chase. | 0:30:21 | 0:30:24 | |
'I said, "No."' | 0:30:24 | 0:30:26 | |
"Why not?" | 0:30:26 | 0:30:28 | |
"Because you are going to orchestrate the chase | 0:30:28 | 0:30:31 | |
"with sound effects, you don't need music." | 0:30:31 | 0:30:34 | |
'When Bullitt is in the car and changes gears, | 0:30:34 | 0:30:37 | |
'that's when the chase starts and I build music up to that point, | 0:30:37 | 0:30:41 | |
'and at that moment, stop.' | 0:30:41 | 0:30:43 | |
MUSIC STOPS | 0:30:43 | 0:30:44 | |
TYRES SQUEAL | 0:30:44 | 0:30:48 | |
CAR ENGINE RUMBLES | 0:30:48 | 0:30:53 | |
And yet people congratulate you | 0:30:53 | 0:30:55 | |
on your scoring of the chase, I believe. | 0:30:55 | 0:30:57 | |
Yes, they say, "I love the music over the chase." | 0:30:57 | 0:31:00 | |
And there's no music. | 0:31:00 | 0:31:02 | |
Three years after Bullitt, Schifrin was invited | 0:31:04 | 0:31:07 | |
to score another, altogether more violent, thriller | 0:31:07 | 0:31:10 | |
set in San Francisco. | 0:31:10 | 0:31:11 | |
And with Dirty Harry, | 0:31:15 | 0:31:17 | |
director Don Siegel offered Schifrin considerable scope to experiment. | 0:31:17 | 0:31:21 | |
And he said, "I have a new film," and he said, | 0:31:23 | 0:31:25 | |
"I want you to write the music for it." | 0:31:25 | 0:31:27 | |
And he gave me complete freedom. | 0:31:27 | 0:31:30 | |
He didn't tell me what to do. | 0:31:30 | 0:31:32 | |
While the dramatic centre of Dirty Harry is Clint Eastwood, | 0:31:32 | 0:31:36 | |
much of Schifrin's music actually accompanies Scorpio, | 0:31:36 | 0:31:40 | |
the crazed serial killer he pursues. | 0:31:40 | 0:31:42 | |
I love, particularly, right from the very start in Dirty Harry, | 0:31:49 | 0:31:53 | |
the first thing we have is Scorpio up on the roof | 0:31:53 | 0:31:56 | |
-with his gun trained. -Yeah. | 0:31:56 | 0:31:58 | |
And the music has a terrific power to it. | 0:31:58 | 0:32:01 | |
TENSE MUSIC PLAYS | 0:32:01 | 0:32:05 | |
Scorpio came with the idea of voices. | 0:32:05 | 0:32:08 | |
Very frenetic, | 0:32:08 | 0:32:11 | |
kind of...hysterical voices. | 0:32:11 | 0:32:16 | |
Schifrin uses unusual sounds, such as rubbing the rim of a glass, | 0:32:17 | 0:32:21 | |
to take us inside Scorpio's psychotic mind. | 0:32:21 | 0:32:24 | |
EERIE MUSIC PLAYS | 0:32:24 | 0:32:29 | |
There's also a sense that Scorpio | 0:32:34 | 0:32:36 | |
represents the end of the '60s dream, | 0:32:36 | 0:32:39 | |
a countercultural figure turned psychopath. | 0:32:39 | 0:32:41 | |
Schifrin captures that idea in this scene with acid-rock guitar riffs. | 0:32:44 | 0:32:49 | |
ROCK MUSIC PLAYS | 0:32:49 | 0:32:52 | |
In Bullitt, I have electric guitar playing jazz or jazz style. | 0:32:56 | 0:33:01 | |
In...in Dirty Harry, I used, for Scorpio, | 0:33:01 | 0:33:06 | |
electric guitars playing kind of acid rock, | 0:33:06 | 0:33:11 | |
because I wanted to make a difference. | 0:33:11 | 0:33:13 | |
ROCK MUSIC PLAYS | 0:33:13 | 0:33:18 | |
Again, it's unpredictable. | 0:33:18 | 0:33:20 | |
Yeah, and menacing, a little bit menacing. | 0:33:20 | 0:33:22 | |
Schifrin had taken the popular-music-influenced score | 0:33:29 | 0:33:33 | |
to a new level of sophistication. | 0:33:33 | 0:33:35 | |
But he was still working in the classic mould | 0:33:36 | 0:33:39 | |
of a film composer trusted by the director | 0:33:39 | 0:33:41 | |
to take charge of how a film sounded. | 0:33:41 | 0:33:44 | |
But by the 1970s, a new generation of directors was coming into cinema | 0:33:44 | 0:33:49 | |
who'd grown up with pop music as the soundtrack to their lives | 0:33:49 | 0:33:52 | |
and wanted to reflect this far more directly in their films. | 0:33:52 | 0:33:57 | |
In 1973, the greatest of these directors | 0:34:03 | 0:34:05 | |
began a journey back into his own youth. | 0:34:05 | 0:34:08 | |
Here, on the streets of New York's Little Italy. | 0:34:08 | 0:34:11 | |
Martin Scorsese's Mean Streets was a film about the New York Mafia. | 0:34:14 | 0:34:19 | |
It followed in the wake of The Godfather, | 0:34:19 | 0:34:21 | |
but concerned small-time criminals | 0:34:21 | 0:34:23 | |
and drew extensively on | 0:34:23 | 0:34:26 | |
Scorsese's own memories. | 0:34:26 | 0:34:27 | |
Scorsese made it on a small budget | 0:34:27 | 0:34:29 | |
raised independently of the big studios. | 0:34:29 | 0:34:33 | |
But it meant he had creative control | 0:34:33 | 0:34:35 | |
and he made the key decision to leave out the composer entirely, | 0:34:35 | 0:34:39 | |
drawing the film soundtrack from his own record collection. | 0:34:39 | 0:34:43 | |
'It wasn't even a question.' | 0:34:43 | 0:34:45 | |
I could never have a composer, like Bernard Herrmann or Elmer Bernstein | 0:34:45 | 0:34:48 | |
or...that was out of the question. | 0:34:48 | 0:34:51 | |
You know, I knew I was going to make films somehow, | 0:34:51 | 0:34:53 | |
but when I did, the soundtrack's up to me. | 0:34:53 | 0:34:57 | |
And the music I knew and the music that scored my life, | 0:34:57 | 0:35:00 | |
and still does to a certain extent, | 0:35:00 | 0:35:02 | |
is the music I heard while growing up. | 0:35:02 | 0:35:04 | |
So music was very, very much part of an expression | 0:35:04 | 0:35:07 | |
of who you are and how you feel. | 0:35:07 | 0:35:10 | |
You know, in reality, | 0:35:18 | 0:35:19 | |
Mean Streets really takes place between '61 and '63, | 0:35:19 | 0:35:22 | |
even though we shot it in '72. | 0:35:22 | 0:35:25 | |
There was Phil Spector and there was the Wall Of Sound. | 0:35:25 | 0:35:28 | |
And that's the sound I hear in my head. | 0:35:28 | 0:35:31 | |
And that was the music that propelled | 0:35:31 | 0:35:33 | |
all the action in the story | 0:35:33 | 0:35:35 | |
and because that's what was playing in the middle of the night | 0:35:35 | 0:35:38 | |
in those after-hour joints that we were in. | 0:35:38 | 0:35:40 | |
Cos there were jukeboxes in these places, you see. | 0:35:40 | 0:35:42 | |
And especially in the summertime, that music would just echo through. | 0:35:42 | 0:35:45 | |
And when you're living in a tenement area, | 0:35:45 | 0:35:47 | |
everybody's out and everybody knows what everybody else is doing. | 0:35:47 | 0:35:51 | |
Right from the pre-title sequence, | 0:35:52 | 0:35:54 | |
Scorsese used a record he loved | 0:35:54 | 0:35:56 | |
to accompany the lead character, Charlie, played by Harvey Keitel. | 0:35:56 | 0:36:00 | |
'I imagined the opening of the picture, | 0:36:00 | 0:36:03 | |
'he looks at himself in the mirror, wonders who the hell he is' | 0:36:03 | 0:36:06 | |
and then, he puts his head back on the pillow | 0:36:06 | 0:36:08 | |
and as we do that, we cut three times into the beat. | 0:36:08 | 0:36:11 | |
So that was all worked out in my head way, way in advance. | 0:36:11 | 0:36:14 | |
MUSIC: "Be My Baby" by The Ronettes | 0:36:16 | 0:36:19 | |
'The first beats of Be My Baby, | 0:36:22 | 0:36:24 | |
'they just emerged' | 0:36:24 | 0:36:27 | |
and they're with me all the time. | 0:36:27 | 0:36:29 | |
So it's...even when I'm on set, it's always... | 0:36:30 | 0:36:32 | |
HE TAPS THE SONG'S RHYTHM | 0:36:32 | 0:36:35 | |
And they know, everybody looks at me, "Yeah, OK?" | 0:36:35 | 0:36:38 | |
And it's just, it's just what I do. | 0:36:38 | 0:36:40 | |
It's part of... it's become part of my DNA. | 0:36:40 | 0:36:43 | |
And then, the thing was to go to home movies. | 0:36:44 | 0:36:47 | |
And then, intercut with actual eight-millimetre films | 0:36:49 | 0:36:52 | |
that my brother took of his first son's christening, that was 1965. | 0:36:52 | 0:36:57 | |
-# ..Say you'll be my darling -Be my, be my baby | 0:36:57 | 0:37:01 | |
# Be my baby now | 0:37:01 | 0:37:04 | |
# Whoa whoa whoa whoa... # | 0:37:04 | 0:37:06 | |
Mean Streets tells how Charlie's attempts | 0:37:06 | 0:37:09 | |
to get ahead in the local Mafia | 0:37:09 | 0:37:11 | |
are complicated by Catholic guilt | 0:37:11 | 0:37:12 | |
and his loyalty to his irresponsible friend Johnny Boy, | 0:37:12 | 0:37:16 | |
played by Robert De Niro. | 0:37:16 | 0:37:18 | |
Scorsese carefully makes us wait | 0:37:20 | 0:37:22 | |
before showing us the two friends together. | 0:37:22 | 0:37:25 | |
Girls, after you. | 0:37:25 | 0:37:27 | |
'All right, OK, thanks a lot, Lord, thanks a lot for opening my eyes...' | 0:37:27 | 0:37:31 | |
Charlie is waiting at the bar for Johnny Boy, | 0:37:31 | 0:37:34 | |
what could Scorsese possibly do with such an ordinary scene? | 0:37:34 | 0:37:38 | |
Well, what he does is to pull off | 0:37:38 | 0:37:39 | |
possibly the greatest musical coup of the whole movie. | 0:37:39 | 0:37:43 | |
MUSIC: "Jumpin' Jack Flash" by The Rolling Stones | 0:37:43 | 0:37:47 | |
The music leaps into the foreground | 0:37:47 | 0:37:49 | |
and, suddenly, Johnny Boy IS Jumpin' Jack Flash | 0:37:49 | 0:37:53 | |
and he's a gas, gas, gas. | 0:37:53 | 0:37:55 | |
And we know Charlie can't trust him. | 0:37:55 | 0:37:58 | |
Look at Charlie's face - he knows Johnny Boy is going to be trouble. | 0:37:58 | 0:38:02 | |
SONG CONTINUES | 0:38:02 | 0:38:06 | |
It's a world in which there is a conformity and a tradition, | 0:38:09 | 0:38:13 | |
a tradition which is underworld. | 0:38:13 | 0:38:16 | |
Johnny is anarchy, | 0:38:16 | 0:38:19 | |
hence Jumpin' Jack Flash. | 0:38:19 | 0:38:21 | |
And I knew it had to be in slow motion, | 0:38:23 | 0:38:25 | |
but what we found when I cut to Harvey | 0:38:25 | 0:38:27 | |
and when he put that glass of liquor down, it just worked beautifully | 0:38:27 | 0:38:31 | |
with the music and he moves back to the edge of the bar | 0:38:31 | 0:38:33 | |
and there's a woman sitting there, I don't know who she is, | 0:38:33 | 0:38:36 | |
but she looks like a ghost. | 0:38:36 | 0:38:37 | |
SONG CONTINUES | 0:38:37 | 0:38:41 | |
I guess, basically, you know, | 0:38:41 | 0:38:42 | |
that was the movie, that was the one, | 0:38:42 | 0:38:44 | |
I put it all in there. | 0:38:44 | 0:38:46 | |
And if anyone was ever to wonder what that life was like or... | 0:38:47 | 0:38:52 | |
..or what that world sounded like and felt like, you know, | 0:38:53 | 0:38:57 | |
they can check out that picture. | 0:38:57 | 0:39:00 | |
Scorsese had proved that a serious, dramatic film | 0:39:02 | 0:39:06 | |
could cut out the composer altogether. | 0:39:06 | 0:39:08 | |
That same year another of this new wave of young directors, | 0:39:10 | 0:39:14 | |
George Lucas, explored his boyhood experiences in American Graffiti | 0:39:14 | 0:39:18 | |
to a soundtrack consisting entirely | 0:39:18 | 0:39:20 | |
of '50s and early '60s pop classics. | 0:39:20 | 0:39:24 | |
But through the '70s, pop music itself was changing, | 0:39:28 | 0:39:31 | |
evolving new styles and genres. | 0:39:31 | 0:39:34 | |
For film producers canny enough to ride this wave, | 0:39:34 | 0:39:37 | |
there was serious money to be made. | 0:39:37 | 0:39:39 | |
In 1977, a film was released that was shot here, in Brooklyn, | 0:39:40 | 0:39:44 | |
and used the latest pop music to tell us about the dreams | 0:39:44 | 0:39:47 | |
and hopes of its characters. | 0:39:47 | 0:39:49 | |
Not a back catalogue of '50s and '60s hits, | 0:39:49 | 0:39:52 | |
but a phenomenon that was sweeping the country | 0:39:52 | 0:39:54 | |
and would burn very brightly, if a little briefly. | 0:39:54 | 0:39:57 | |
Ladies and gentlemen, I give you disco. | 0:39:57 | 0:40:00 | |
MUSIC: "Night Fever" by the Bee Gees | 0:40:02 | 0:40:06 | |
The producers of Saturday Night Fever wanted to build its soundtrack | 0:40:06 | 0:40:10 | |
around six songs that had already been recorded by The Bee Gees. | 0:40:10 | 0:40:14 | |
To provide additional tracks and incidental music, | 0:40:18 | 0:40:21 | |
David Shire was called in. | 0:40:21 | 0:40:23 | |
With a theatre and jazz background, | 0:40:24 | 0:40:27 | |
Shire had written scores for key '70s films | 0:40:27 | 0:40:29 | |
like All The President's Men. | 0:40:29 | 0:40:31 | |
He now had to find a way of working within the disco style. | 0:40:31 | 0:40:35 | |
I guess that's what I liked about disco. | 0:40:36 | 0:40:38 | |
You could take anything, you could take Beethoven, | 0:40:38 | 0:40:40 | |
you could take Rimsky-Korsakov, you could take Mussorgsky, | 0:40:40 | 0:40:44 | |
and just put 120 beats per minute to it and a rhythm section, | 0:40:44 | 0:40:49 | |
and it would kind of work. | 0:40:49 | 0:40:51 | |
For this sequence, | 0:40:53 | 0:40:54 | |
Shire adapted a classical piece, Night on a Bare Mountain | 0:40:54 | 0:40:57 | |
by the 19th-century Russian composer Modest Mussorgsky. | 0:40:57 | 0:41:01 | |
MUSIC: "Night on a Bare Mountain" by Mussorgsky, adaptation David Shire | 0:41:01 | 0:41:07 | |
Shire gives it a disco twist, which enhances the tune's | 0:41:13 | 0:41:16 | |
and the scene's dizzying, dangerous feel. | 0:41:16 | 0:41:19 | |
MAN SHOUTING | 0:41:19 | 0:41:23 | |
And it turned out to be the most lucrative film job I've ever had, | 0:41:26 | 0:41:33 | |
the least composing but the most rewarding, financially. | 0:41:33 | 0:41:39 | |
The Saturday Night Fever soundtrack sold 15 million copies | 0:41:40 | 0:41:43 | |
and spent six months at number one. | 0:41:43 | 0:41:46 | |
The film itself earned more than 90m at the US box office, | 0:41:46 | 0:41:51 | |
a huge sum for the time. | 0:41:51 | 0:41:53 | |
Hollywood studios would now seek to exploit this cash cow, | 0:41:53 | 0:41:56 | |
with an eye firmly on the commercial rather than the artistic | 0:41:56 | 0:42:00 | |
possibilities of pop songs. | 0:42:00 | 0:42:02 | |
In the 1980s, with American cinema ticket sales topping | 0:42:03 | 0:42:06 | |
a billion a year, | 0:42:06 | 0:42:08 | |
Hollywood and the pop industry became increasingly co-dependent. | 0:42:08 | 0:42:13 | |
Big-budget movies like Top Gun were indiscriminately filled with | 0:42:13 | 0:42:16 | |
pop and rock tracks. | 0:42:16 | 0:42:18 | |
Videos were used to market movies on MTV, | 0:42:19 | 0:42:23 | |
while the films were used to promote the artists themselves. | 0:42:23 | 0:42:26 | |
MUSIC: "Take My Breath Away" by Berlin | 0:42:29 | 0:42:31 | |
Against this corporate background, | 0:42:33 | 0:42:35 | |
it would take a director of singular vision to make popular music | 0:42:35 | 0:42:39 | |
mean more than the sum of its lyrics. | 0:42:39 | 0:42:41 | |
MUSIC: "Blue Velvet" by Bobby Vinton | 0:42:44 | 0:42:49 | |
Right from the exaggeratedly idyllic opening of Blue Velvet, | 0:42:49 | 0:42:54 | |
David Lynch uses '50s pop songs to create a dream-like atmosphere. | 0:42:54 | 0:42:59 | |
For Lynch, classic pop is like necromancy, | 0:43:04 | 0:43:08 | |
bringing to life a world of strange, | 0:43:08 | 0:43:10 | |
chilling encounters between people on the edge, as in this scene | 0:43:10 | 0:43:14 | |
where the title song is performed by the film's star Isabella Rossellini. | 0:43:14 | 0:43:18 | |
# Blue velvet... # | 0:43:21 | 0:43:27 | |
Here, Lynch's sinister alchemy twists a seemingly innocent | 0:43:29 | 0:43:32 | |
love song to highlight the growing obsession of the film's | 0:43:32 | 0:43:36 | |
protagonist Geoffrey with Rossellini's character. | 0:43:36 | 0:43:39 | |
# ..was the night from the stars... # | 0:43:41 | 0:43:44 | |
To help Rossellini with her vocal performance, | 0:43:46 | 0:43:49 | |
the producers called songwriter and composer Angelo Badalamenti. | 0:43:49 | 0:43:54 | |
And I meet with Isabella. | 0:43:54 | 0:43:55 | |
We work on the song Blue Velvet. | 0:43:55 | 0:43:58 | |
We then record it. | 0:43:58 | 0:44:00 | |
David puts the earphones on, | 0:44:00 | 0:44:02 | |
he listens to the whole thing, | 0:44:02 | 0:44:05 | |
takes the earphones off and he says, | 0:44:05 | 0:44:07 | |
"This is peachy keen. | 0:44:07 | 0:44:09 | |
"That's the ticket." | 0:44:09 | 0:44:11 | |
But that wasn't the end of it. | 0:44:13 | 0:44:15 | |
Lynch wanted to use a track by the band This Mortal Coil in the film, | 0:44:15 | 0:44:19 | |
but the producers couldn't afford to license it. | 0:44:19 | 0:44:22 | |
Instead, they suggested Badalamenti should write an original song. | 0:44:22 | 0:44:27 | |
So I said, "OK, but I need a lyric. I'm not a lyric writer. | 0:44:27 | 0:44:31 | |
"Why don't you tell your director to write a lyric?" | 0:44:31 | 0:44:36 | |
And I'm recording Isabella now on Blue Velvet, | 0:44:36 | 0:44:39 | |
and she comes in with this little piece of paper, | 0:44:39 | 0:44:42 | |
and on it, on the top, it says, "Mysteries of Love." | 0:44:42 | 0:44:45 | |
And I'm reading it, "And sometimes the wind blows, | 0:44:47 | 0:44:50 | |
"and you and I float in the darkness and kiss for ever..." | 0:44:50 | 0:44:53 | |
blah, blah, blah. | 0:44:53 | 0:44:54 | |
I'm thinking, "This is awful." | 0:44:55 | 0:44:57 | |
So, what do I do? I call David and I say, | 0:44:57 | 0:44:59 | |
"David, I'm just curious. What kind of music do you hear for it?" | 0:44:59 | 0:45:02 | |
"Oh, Angelo, just let it float. Make it like the tides of the ocean. | 0:45:02 | 0:45:08 | |
"Make it kind of cosmic and..." No clue, right? | 0:45:08 | 0:45:11 | |
I take the lyric, I put it on the piano... | 0:45:12 | 0:45:15 | |
-I'll play it for you, if you like. -Sure. Please. | 0:45:15 | 0:45:18 | |
# Sometimes a wind blows | 0:45:18 | 0:45:22 | |
# And you and I... | 0:45:25 | 0:45:29 | |
-WOMAN'S VOICE: -# ..float... # | 0:45:34 | 0:45:38 | |
In this scene, the song Mysteries of Love epitomises the purity of love, | 0:45:40 | 0:45:45 | |
not the morbid desire Geoffrey felt for Rossellini's character | 0:45:45 | 0:45:49 | |
when Blue Velvet played. | 0:45:49 | 0:45:50 | |
The lyric forced me to... | 0:45:53 | 0:45:56 | |
Even David's description... | 0:45:56 | 0:45:58 | |
Just something floating and no real time, | 0:45:58 | 0:46:02 | |
no rhymes, no hooks. | 0:46:02 | 0:46:05 | |
# ..And the mysteries of love... # | 0:46:05 | 0:46:10 | |
Lynch had started out wanting to include one pop track in his film | 0:46:10 | 0:46:13 | |
and ended up co-writing a brand-new one but, more importantly, | 0:46:13 | 0:46:18 | |
he'd found himself a musical soul mate. | 0:46:18 | 0:46:20 | |
Angelo Badalamenti has gone on to score pretty much | 0:46:20 | 0:46:22 | |
all of Lynch's films since | 0:46:22 | 0:46:24 | |
and I think there's a reason for that. | 0:46:24 | 0:46:27 | |
His music is the sound of Lynch's world with all its paradoxes. | 0:46:27 | 0:46:32 | |
It's cold but, at the same time, it's very warm. | 0:46:32 | 0:46:35 | |
It's nostalgic and yet it's very, very modern. | 0:46:35 | 0:46:38 | |
And, to be frank, for me, | 0:46:38 | 0:46:40 | |
David Lynch's films couldn't work without Badalamenti's music. | 0:46:40 | 0:46:45 | |
One day in 1989, the pair sat down at Badalamenti's piano | 0:46:46 | 0:46:52 | |
and, in a single take, | 0:46:52 | 0:46:53 | |
wrote the theme for a groundbreaking new television series. | 0:46:53 | 0:46:57 | |
David comes in. "Angelo, now we're really pals." | 0:46:59 | 0:47:02 | |
And he says, "We're in a dark wood." | 0:47:02 | 0:47:07 | |
And I'm going like... | 0:47:07 | 0:47:09 | |
PLAYS MOODY PIANO MUSIC | 0:47:09 | 0:47:11 | |
"No, Angelo, those are beautiful notes but can you do them slower?" | 0:47:11 | 0:47:15 | |
OK. | 0:47:15 | 0:47:16 | |
PLAYS PIANO SLOWER | 0:47:16 | 0:47:17 | |
"No, no, Angelo, slower." | 0:47:20 | 0:47:22 | |
I said, "David, if we do it any slower, | 0:47:22 | 0:47:24 | |
"I'm going to play in reverse." | 0:47:24 | 0:47:26 | |
"OK, Angelo, now there's a girl named Laura Palmer... | 0:47:31 | 0:47:36 | |
"She's a very troubled teenager, | 0:47:36 | 0:47:40 | |
"and she's in the dark woods and she's coming out | 0:47:40 | 0:47:43 | |
"behind some trees. | 0:47:43 | 0:47:44 | |
"She's very beautiful, too. | 0:47:45 | 0:47:47 | |
"Give me something that's her." | 0:47:48 | 0:47:50 | |
SAD PIANO MUSIC PLAYS | 0:47:50 | 0:47:54 | |
"That's it, Angelo. | 0:48:00 | 0:48:02 | |
"Now let it build, cos she's coming closer and she's so troubled. | 0:48:02 | 0:48:06 | |
"She's got tears in her eyes. Angelo, it's so sad. Reach a climax. | 0:48:10 | 0:48:15 | |
"That's it. Just keep it going. | 0:48:18 | 0:48:20 | |
"Beautiful. Beautiful. Now, start coming down | 0:48:25 | 0:48:30 | |
"but fall slowly. Come slowly, slowly down, down. | 0:48:30 | 0:48:35 | |
"That's it. | 0:48:36 | 0:48:38 | |
"That's it. | 0:48:38 | 0:48:40 | |
"Quiet. | 0:48:40 | 0:48:42 | |
"Now, Angelo, go back into the dark woods... | 0:48:42 | 0:48:45 | |
"..and stay there. | 0:48:48 | 0:48:51 | |
"There's an owl in the background." | 0:48:51 | 0:48:53 | |
He said, "Angelo, you just wrote Twin Peaks." | 0:48:56 | 0:49:00 | |
From a starting point in pop, Badalamenti | 0:49:06 | 0:49:08 | |
and Lynch formed a fertile partnership of director | 0:49:08 | 0:49:12 | |
and composer almost unparalleled in contemporary cinema. | 0:49:12 | 0:49:16 | |
But could a truly creative director ever insist, in effect, | 0:49:18 | 0:49:22 | |
that he wouldn't touch a composer with a bargepole? | 0:49:22 | 0:49:25 | |
As a composer, I rather took against Quentin Tarantino, | 0:49:27 | 0:49:30 | |
gifted filmmaker though he is, | 0:49:30 | 0:49:33 | |
when he reportedly said that he doesn't use composers | 0:49:33 | 0:49:35 | |
because he wouldn't trust one with his movies. | 0:49:35 | 0:49:38 | |
But then, maybe it's my prejudices I should be challenging. | 0:49:38 | 0:49:41 | |
Maybe he's right. | 0:49:41 | 0:49:43 | |
Let's see what he gains by not using a composer. | 0:49:43 | 0:49:46 | |
Tarantino's 1992 debut, Reservoir Dogs, features | 0:49:48 | 0:49:52 | |
a soundtrack solely consisting of old pop | 0:49:52 | 0:49:55 | |
and rock songs that the characters hear on a local radio station. | 0:49:55 | 0:49:59 | |
RADIO PRESENTER: ..super sounds of the '70s continues. | 0:50:00 | 0:50:04 | |
This embeds the music in the film | 0:50:04 | 0:50:06 | |
and enables the characters to interact with it, | 0:50:06 | 0:50:09 | |
as in this notorious torture scene. | 0:50:09 | 0:50:11 | |
MUSIC: "Stuck In The Middle With You" by Stealers Wheel | 0:50:13 | 0:50:20 | |
By playing the catchy Stuck In The Middle With You, | 0:50:23 | 0:50:26 | |
written by Gerry Rafferty and Joe Egan, | 0:50:26 | 0:50:28 | |
Tarantino lulls the audience into being charmed by Mr Blonde, | 0:50:28 | 0:50:33 | |
singing along to the song despite the feeling of imminent danger. | 0:50:33 | 0:50:37 | |
# ..Stuck in the middle with you | 0:50:37 | 0:50:39 | |
# Yes, I'm stuck in the middle with you... # | 0:50:39 | 0:50:41 | |
Then, when the violence hits, it's all the more shocking. | 0:50:41 | 0:50:45 | |
The violence of Reservoir Dogs divided audiences and critics, | 0:50:46 | 0:50:50 | |
but its soundtrack was hailed as | 0:50:50 | 0:50:52 | |
one of the finest uses of pop music in a generation. | 0:50:52 | 0:50:55 | |
So, how does Tarantino get round the tricky issue of being | 0:50:57 | 0:51:00 | |
allowed to use someone's music in this way? | 0:51:00 | 0:51:02 | |
Enter music supervisor Karyn Rachtman. | 0:51:04 | 0:51:07 | |
What does a music supervisor do on a movie? | 0:51:09 | 0:51:13 | |
Your job can be as basic as licensing every track, | 0:51:13 | 0:51:17 | |
and just handling the negotiations | 0:51:17 | 0:51:18 | |
and making sure that you take care of all the rights. | 0:51:18 | 0:51:20 | |
What happens if you have to then go and say, | 0:51:20 | 0:51:23 | |
"We may not be able to clear the rights"? | 0:51:23 | 0:51:25 | |
It happens all the time. | 0:51:25 | 0:51:26 | |
85% of the movies I've worked on, | 0:51:26 | 0:51:29 | |
you do not get every song you want. | 0:51:29 | 0:51:31 | |
During Reservoir Dogs, | 0:51:31 | 0:51:33 | |
Quentin, when he wrote that script, he had written in the songs. | 0:51:33 | 0:51:37 | |
Especially with the scene Stuck In The Middle With You, | 0:51:37 | 0:51:40 | |
that was being shot to. | 0:51:40 | 0:51:41 | |
So, he had a music supervisor on the film who told him, | 0:51:41 | 0:51:45 | |
"You can't use any '70s songs." Quentin was devastated. | 0:51:45 | 0:51:48 | |
And I said, "I will get you Stuck In The Middle With You." | 0:51:48 | 0:51:52 | |
And I had to get on the phone with Joe Egan | 0:51:57 | 0:52:00 | |
because I needed him to call the publisher. | 0:52:00 | 0:52:02 | |
He didn't want to do it and I had to reference things like | 0:52:02 | 0:52:06 | |
Singin' In The Rain used in Clockwork Orange, | 0:52:06 | 0:52:08 | |
and how we're paying homage to his song, | 0:52:08 | 0:52:10 | |
even though somebody's getting their ear cut off by a sick freak. | 0:52:10 | 0:52:14 | |
You had to tell him the scene, I assume. | 0:52:14 | 0:52:16 | |
You have to tell him the scene. Yeah, of course. | 0:52:16 | 0:52:18 | |
After I got him Stuck In The Middle With You, | 0:52:18 | 0:52:20 | |
Quentin said, "What can I do for you? I appreciate it so much." | 0:52:20 | 0:52:23 | |
And I said, "You can fire your other music supervisor." | 0:52:23 | 0:52:26 | |
Karyn Rachtman worked with Tarantino on his follow-up | 0:52:27 | 0:52:30 | |
to Reservoir Dogs, Pulp Fiction, | 0:52:30 | 0:52:32 | |
which again featured characters interacting with songs. | 0:52:32 | 0:52:36 | |
But he didn't think he was going to put a song | 0:52:36 | 0:52:38 | |
when Bruce Willis was driving in the car | 0:52:38 | 0:52:40 | |
and he said, "Get me a song." | 0:52:40 | 0:52:42 | |
# Flowers on the wall... # | 0:52:44 | 0:52:47 | |
Flowers On The Wall ended up there. | 0:52:47 | 0:52:49 | |
I just guess I was picturing Bruce Willis | 0:52:49 | 0:52:51 | |
singing along to something funny. | 0:52:51 | 0:52:53 | |
With Quentin's movies, the music sometimes lets you go... | 0:52:53 | 0:52:57 | |
EXHALES DEEPLY | 0:52:57 | 0:53:00 | |
But this fun musical sing-along is just | 0:53:04 | 0:53:06 | |
a moment of respite before the violence starts again. | 0:53:06 | 0:53:09 | |
Motherfucker. | 0:53:11 | 0:53:14 | |
TYRES SCREECH | 0:53:14 | 0:53:16 | |
Tarantino's more recent films show that his drive to feature | 0:53:20 | 0:53:24 | |
the music he loves doesn't just stop with pop and rock. | 0:53:24 | 0:53:28 | |
He might not want to employ film composers, | 0:53:28 | 0:53:30 | |
but he seems to own plenty of their soundtracks. | 0:53:30 | 0:53:33 | |
Listen to this scene from Kill Bill. | 0:53:33 | 0:53:36 | |
SHE WHISTLES | 0:53:36 | 0:53:39 | |
The tune Daryl Hannah is whistling was | 0:53:39 | 0:53:41 | |
written by Bernard Herrmann for the 1968 film Twisted Nerve. | 0:53:41 | 0:53:46 | |
And remember this one? | 0:53:47 | 0:53:49 | |
SPAGHETTI WESTERN MUSIC PLAYS | 0:53:49 | 0:53:51 | |
Ennio Morricone's music for the climactic | 0:53:54 | 0:53:57 | |
shootout in A Fistful Of Dollars. | 0:53:57 | 0:53:59 | |
Tarantino, a master of utilising the pop song, | 0:54:03 | 0:54:06 | |
uses composers all right, | 0:54:06 | 0:54:08 | |
but only when their music is already iconic, | 0:54:08 | 0:54:11 | |
revealing the debt even he owes to the history of the movie soundtrack. | 0:54:11 | 0:54:16 | |
When it comes to respecting tradition, | 0:54:18 | 0:54:21 | |
one cinema franchise more than any other requires its composed | 0:54:21 | 0:54:24 | |
to acknowledge its musical heritage. | 0:54:24 | 0:54:26 | |
For Casino Royale, composer David Arnold faced the challenge | 0:54:29 | 0:54:33 | |
of rebooting the legacy of John Barry for a contemporary audience, | 0:54:33 | 0:54:37 | |
20 Bond movies on from Dr No. | 0:54:37 | 0:54:39 | |
It was kind of classic back to sort of Barry, | 0:54:41 | 0:54:45 | |
back to basics, the spirit of it, | 0:54:45 | 0:54:47 | |
the wailing brass, the seductive strings, | 0:54:47 | 0:54:50 | |
but knowing it's a different world. | 0:54:50 | 0:54:53 | |
Casino Royale would be the first Bond movie to star Daniel Craig. | 0:54:53 | 0:54:57 | |
Arnold's score had to reflect this tougher and more physical 007. | 0:54:58 | 0:55:02 | |
The music was modelled on Daniel's movement, muscularity, | 0:55:09 | 0:55:14 | |
his attitude, the way he looked... | 0:55:14 | 0:55:16 | |
So, you're actually scoring body language... | 0:55:16 | 0:55:19 | |
Bond's not one for saying an awful lot. | 0:55:19 | 0:55:21 | |
The music is accompanying him moving. | 0:55:25 | 0:55:27 | |
But Casino Royale is also an origin tale, | 0:55:31 | 0:55:35 | |
explaining how Bond becomes a fully fledged super spy. | 0:55:35 | 0:55:38 | |
This presented Arnold with an interesting opportunity to | 0:55:38 | 0:55:41 | |
work with the classic Bond theme. | 0:55:41 | 0:55:44 | |
He deliberately didn't play the Bond theme during that | 0:55:44 | 0:55:47 | |
film in its entirety until the very end of the picture. | 0:55:47 | 0:55:50 | |
Erm... | 0:55:50 | 0:55:51 | |
because it felt like he wasn't that character yet. | 0:55:51 | 0:55:56 | |
When he wins the DB5 in the game of cards, | 0:55:56 | 0:55:59 | |
the first time you kind of hint at that... | 0:55:59 | 0:56:01 | |
HE HUMS GENTLY | 0:56:01 | 0:56:02 | |
The first time he puts the dinner jacket on. | 0:56:10 | 0:56:12 | |
He gets the tuxedo and he straighten his tie, | 0:56:12 | 0:56:14 | |
and he looks at himself in the mirror and you think, | 0:56:14 | 0:56:16 | |
"OK, that's a bit closer." | 0:56:16 | 0:56:17 | |
SHE LAUGHS | 0:56:21 | 0:56:23 | |
And then ultimately, at the end of the film, | 0:56:26 | 0:56:28 | |
when he says, "The name's Bond - James Bond." | 0:56:28 | 0:56:30 | |
There you are. Hello. | 0:56:30 | 0:56:32 | |
The name's Bond - James Bond. | 0:56:35 | 0:56:38 | |
It's only when these four seconds of black appear that we hear | 0:56:41 | 0:56:44 | |
the Bond theme in full, just in time for the credits to roll. | 0:56:44 | 0:56:48 | |
BOND THEME PLAYS | 0:56:48 | 0:56:51 | |
David Arnold's music | 0:56:51 | 0:56:52 | |
helped give the Bond franchise a new lease of life. | 0:56:52 | 0:56:55 | |
And, in 2013, Skyfall, performed and co-written by Adele, | 0:57:00 | 0:57:04 | |
became the first Bond song to win an Academy Award. | 0:57:04 | 0:57:07 | |
# Let the sky fall | 0:57:09 | 0:57:12 | |
# When it crumbles | 0:57:12 | 0:57:15 | |
# We will stand tall... # | 0:57:15 | 0:57:17 | |
The song carries its heritage proudly. | 0:57:17 | 0:57:20 | |
The powerful chorus... | 0:57:20 | 0:57:21 | |
# ..Let the sky fall | 0:57:23 | 0:57:25 | |
# When it crumbles | 0:57:25 | 0:57:28 | |
# We will stand tall... # | 0:57:28 | 0:57:30 | |
The classic Bond chord progression it incorporates... | 0:57:32 | 0:57:35 | |
# ..That sky falls | 0:57:35 | 0:57:39 | |
# That sky falls... # | 0:57:40 | 0:57:43 | |
And, crucially, the careful casting of the performer, | 0:57:43 | 0:57:47 | |
following a tradition that began with Shirley Bassey and Goldfinger. | 0:57:47 | 0:57:52 | |
I don't think you would necessarily expect to see Adele in a scene | 0:57:52 | 0:57:57 | |
but the sound of her voice says, "This could belong in Bond's world." | 0:57:57 | 0:58:01 | |
Pop may once have been a cinematic upstart, | 0:58:06 | 0:58:08 | |
but now it's so well established it can draw on its own tradition. | 0:58:08 | 0:58:12 | |
Today's audience enjoys films that can move seamlessly | 0:58:12 | 0:58:15 | |
between the orchestral score and the energy of popular music, | 0:58:15 | 0:58:18 | |
making soundtracks more diverse, forceful and relevant. | 0:58:18 | 0:58:21 | |
This has become the modern sound of cinema. | 0:58:22 | 0:58:25 | |
Next time, the film score goes electronic. | 0:58:27 | 0:58:31 | |
How technology pushed the boundaries of the soundtrack. | 0:58:31 | 0:58:34 | |
MUSIC: "Skyfall" by Adele, instrumental arrangement | 0:58:39 | 0:58:44 | |
Subtitles By Red Bee Media Ltd | 0:58:58 | 0:59:01 |