Film Music

Music.

FILM MUSIC

Paul Tonks

POCKET ESSENTIALS

For Rebecca, my 'confoundedly attractive woman'

Acknowledgements

Glen Aitken, Steve Bartek, Jonathan Broxton, James Cox, Paul Duncan, Keiron Earnshaw, Robin Esterhammer, Michael Giacchino, Rudy Koppl, Ian Lace,Geoff Leonard, Paul Lewis, Dick Lewzey, Carl Ogawa, Matthew Peerless, Steve Race, Deanne Scott, Elliot Thorpe, Robert Townson, Michael Voigt, Mark Walker, Debbie Wiseman, the British Academy Of Composers And Songwriters, Garrett Axford Public Relations And Marketing, Mum, Dad, and all the directors/composers who have inspired my writing.

'As much to the crew of the Enterprise, I owe you my thanks.'

Contents

1. You Ain't Heard Nothing Yet

2. The Golden Age

3. Anything Goes

4. Commercial Instincts

5. Romance Ain't Dead

6. Millennium Falcons

7. Hitting The Right Note

8. Reference

Copyright

1. You Ain't Heard Nothing Yet

Whether you're someone who has just discovered film music, someone obliged to learn more for educational purposes, or a long-standing geek fan, this book is respectfully yours. Compiled here is an introduction to the film composer's craft in chronological order. Each chapter takes a period in history and namechecks the writers who made a difference, and observes what was happening in the industry to make differences warranted and possible. The names go by fast, but hopefully with cross-referencing and album recommendations at the end, the most important ones stay in the memory.

  Whenever music is written to support something else it is called 'applied' as opposed to 'pure'. So its categorization as 'applied music' helps give a literal answer. For our purposes, a more specific definition is that it's music applied to support the action of a theatrically released film. New songs are written, old ones are re-used, classical pieces are quoted from, and sometimes the sound effects themselves are deemed music. All of these will be mentioned in context, but it's the work of the film composer that's concentrated on.

  Begin by asking yourself the following questions: what makes the title scroll of a Star Wars movie exciting? Why is the tiny dot of a camel in vast desert sands so beautiful in Lawrence Of Arabia? What's so frightening about a delivery van appearing on the horizon at the end of Se7en? Why is Scarlett O'Hara's sunset silhouette so heartbreaking in Gone With The Wind? Why do we jump at Sydney opening an empty closet door in Scream? In Vertigo, how do we know that Madeline is going to throw herself out the tower window and that Scotty won't be able to save her?

  The answer to each is the music. The composers manipulate our emotions. By whatever method it is realised, film music is the unseen narrative voice communicating everything we need to feel. It can duplicate, contradict, or even act regardless of the action and dialogue. Take it away, and it is missed. That said, it's a curious fact that most audiences are never aware of a film's music. Light may travel faster than sound, but does that excuse people's general reaction of not recalling any music? This is the main reason for an ongoing disregard for the film composer's art. To this can be added disdain from the classical realm for it not being 'pure'. Also a refusal to acknowledge its unchanging orchestral form by the ever-changing pop music world. With so much combined ignorance, it's a wonder it stayed popular in the industry. Yet there are more orchestral scores being written and being released today than ever.

  Another curious fact about contemporary audiences is that 90% leave the cinema (or stop the video/DVD) as soon as the end credits begin to roll. Unless there's a rare continuation of footage or some bloopers, no one's interested in a list of names with musical backing. It used to be that composers were given this time for a score suite. This time is now generally given to song placement. For Titanic (1997), the biggest ever cinematic and film music success story, that time went to 'My Heart Will Go On'. Its album sold over 25 million copies worldwide, and the song stayed at Number 1 in US charts for sixteen weeks. The discrepancies here are, how could a score be so popular if it wasn't generally noticed, and how could a song do so well if few stayed in their seats to hear Celine Dion? Since a large proportion of sales accrued prior to the film's release, the answer comes down to how the marketing-oriented industry works today. To understand that properly, we have to journey back before the real-life ocean liner set sail.

The Rest Is Silents

Uncertainty about applying sound to film dates back to the beginnings of cinema, before the technology was available to make use of it. Musical accompaniment preceded the first 'talkie' by a number of years though. After the Lumière brothers set the wheels of this new industry in motion with footage of a steam engine (1895), fickle audiences wanted more and more spectacle. Longer pieces of film begat an entire storyline, first in The Great Train Robbery (1903). Around that time it became common to have a piano improvising to what was on screen (and neatly hiding the clanking projector noise). Though classicist Camille Saint-Saëns was commissioned to provide a score forL'Assassinat du Duc de Guise (1908), it was the 20s before a music-publishing clerk named Max Winkler devised a short-lived system of providing pianists with cue sheets of existing pieces. Simultaneous to that taking effect, the major Hollywood studios began spending vast sums of money experimenting with sound technologies.

  Warner Brothers used the Vitaphone system to synchronise a sound disc of rudimentary effects to their premiere of Don Juan (1926). History records an audience reaction that was casually indifferent to the experience. The following year the studios signed the Big Five Agreement to delay the introduction of synchronised sound until they agreed on one system and were confident of its usefulness. Fortunately they were almost immediately reassured on all counts. Mere months later, Warner again made history with the words 'You ain't heard nothing yet' bursting from Al Johnson in The Jazz Singer (1927). It was a straightforward demonstration of simple microphone placement, but it laid the gauntlet for the industry. While directors like Alfred Hitchcock languished in attempts to hide recording equipment in flowerpots for Blackmail (1929), the idea of a fully synchronised 'talkie' was suddenly possible and desirable. It seems inconceivable today that Leonardo DiCaprio and Kate Winslet might have been left mouthing sweet nothings while a screencard interrupted to announce: 'Iceberg, roight ahead!'

  Classical pieces were the easiest musical application with sound technology in place. At the start of Universal's reign of horror greats, Bela Lugosi's Dracula (1931) benefited from the soulful strains of Tchaikovsky's 'Swan Lake'. Some studios went a step further and asked contemporary classical composers to write pieces to be added later. Stravinsky and Holst both worked on scores that never saw the light of day, but Shostakovich graduated from years as an improvising pianist to being asked to write something to perform alongside New Babylon (1929). Then he scored Alone (1930), which was his native Russia's first sound film. The real turning point came courtesy of Austrian-born Max Steiner, affectionately dubbed the 'Father of Film Music'. He arrived in Hollywood at the end of a streak of Musicals, which were one way the industry had embraced the use of sound. At the start of the 30s there was still a commonly held concern that cinema audiences wouldn't understand where a full musical underscore would be coming from. It took the bravery of RKO producer David O. Selznick to get past that and instruct Steiner to compose one for Symphony Of Six Million (1932). The result shook those notions apart and almost immediately led to the creation of musical departments within the major studios. As resident musical director of RKO for several years (before moving onto Warners), he had his pick of projects. It was his King Kong (1933) that signified the dawn of a new era. Whenever thanked by admirers for inventing film music, Steiner would brush compliments away and point them in the direction of late German romantic composer Richard Wagner (whose work had appeared in film as early as 1915 with The Birth Of A Nation). In his opinion Wagner would have been the foremost film composer. All of which is in reference to the leitmotif – the idea of linking the appearances of a person, place, or thing together with a recurring musical phrase. It may seem commonplace and common sense today, but for film it began with Kong. The ape's three-note motif is as simple an idea as John Williams would later create for Jaws. We feel and fear his presence when not actually on screen because of this motif. We suspend disbelief for the stop-motion puppet because of its power and nobility. Its importance for this film, and the craft from then on cannot be stressed enough. It gave licence for the opening of a film to feature a musical overture introducing principal themes. It also meant a brief reprise could accompany the audience's exit, back in a Golden Age when there were no long lists of names to read.

2. The Golden Age

'The Golden Age' is one of several terms bandied about without anyone really bothered with defining what it means, when it started, when it ended, or why. Where film music is concerned, it romantically means a period when its craft matched the artistry of the films themselves, unsullied by commercialism or committee decision making. That period arguably starts at Steiner's King Kong with its intellectualised methods. It had an immediately obvious influence on how scores were written. Everything that previously falls into the Silent film category should be separated from the definition, but chronologically this ignores much that shouldn't be forgotten. Worthies include the previously mentioned Musicals, the works of Edmund Meisel on The Battleship Potemkin (1925) and October (1927), and even the encapsulation of American good humour despite its Depression Era in Charlie Chaplin's sketched and hummed tunes for the likes of City Lights (1931). These all contributed to the styles and approaches of later works. If Kong is to be taken as the starting point however, then it's the richly dramatic style that distinguishes itself from what came before.

  Steiner went on to produce some of the most memorable film scores in history. He put thunder under the hooves of The Charge Of The Light Brigade (1936), and a golden glow of emotional beauty and fortitude behind Tara's life story in Gone With The Wind (1939). Later he became inextricably linked to the best