Category Archives: Films

Fantasia: Disney’s strange experiment with music and animation

January 6th, 1942: Disney’s Fantasia opens in theaters (not to be confused with its official New York premiere in 1940)

Seventy-four years ago, a strange movie opened in American cinemas. Fantasia was far from the typical feature film, beacause rather than telling a unified story, it was separated into a series of musical segments, some told stories, others consisted of abstract images. Disney originally intended for Fantasia to be the first in a recurring series of films that would continuously update itself by including old segments and adding in new portions as time went on. Although Fantasia 2000 attempted to follow this model, the plan ultimately fell through. Nonetheless, Fantasia is nowadays considered a masterpiece of animation and of musical talent.

The film is divided into eight musical segments and they are as follows:

Of all the segments in Fantasia, the Toccata and Fugue is by far the most abstract segment of them all. The Toccata consists of the camera panning through the orchestra, with occasional shots of conductor Leopold Stokowski’s back (seen in the picture above). The Fugue section is when things get interesting (or weird, depending upon how you feel about classical music). The viewer is taken through a medley of rolling red and purple hills, endless staircases and fantastical landscapes, all before plummeting back to earth and the orchestra as the piece finally comes to an end.

Despite it’s name (and the host informs the audience as well), the titular Nutcracker does not appear in this segment. What does appear are a number of dances from the ballet, namely: “The Dance of the Sugar Plum Fairy”; “Chinese Dance”; “Dance of the Flutes”; “Arabian Dance”; “Russian Dance”; and “Waltz of the Flowers.”

This is the only segment to be brought back in Fantasia 2000 and one of the most famous, mostly because of its famous star: Mickey Mouse is the titular apprentice, who works tirelessly for the wizard Yen Sid (Disney spelled backwards). Once the wizard departs for bed, Mickey decides to create some “help” to get his chores done quicker, but things quickly get out of hand…

  • The Rite of Spring by Igor Stravinsky

This segment is usually the one kids remember because this is “the dinosaur segment” (at least that’s how I always remembered it when I was growing up). Disney took Stravinsky’s ballet about a group of primitives performing ritual sacrifice (not kidding about this) and transformed it into a story about evolution, starting with the primitive Earth boiling in lava, through the creation of microbes up until the mighty dinosaurs themselves. The climax of the segment (before the extinction anyway), is a terrifying segment where a T-Rex attacks a group of peaceful dinosaurs and the T-Rex squares off against the Stegosaurus (keep in mind that T-Rex was viewed primarily as a hunter in those days, and not believed to be the scavenger we now suspect he might have been).

The two square off, but you just know Stegosaurus doesn’t stand a chance
  • Intermission/Meet the Soundtrack

Now comes an interlude where first, we see the musicians having an impromptu jam session and then our host introduces us to the soundtrack, personified as an animated string standing in the center of the stage. This animated string is used to demonstrate the different sounds the orchestra makes. Below is just one example (it’s really funny to watch):

  • The Pastoral Symphony (Symphony No. 6) by Ludwig van Beethoven

Now into the second half of the program, we see Beethoven’s Symphony No. 6 (also called the Pastoral Symphony). Beethoven wrote this symphony as his deafness was progressively getting worse and so he deliberately evoked the landscape of the country in his musical writing and the Disney animators took these sounds and created a fantastical Greek world where all the creatures of mythology live. For instance you have (in no particular order):

The whole program revolves around a day in the life in this little paradise. We see the life of a Pegasus family, courtship among the centaurs, a huge wine party hosted by Dionysus, a gigantic thunderstorm created by Zeus (apparently because he can), the aftermath and a spectacular sunset (with a brief cameo by Apollo no less!)
2b76d-fantasia-disneyscreencaps-com-7648
Apollo waving goodbye
  • Dance of the Hours by Amilcare Ponchielli

Next comes the ever hilarious Dance of the Hours, an allegory of the progression from Day to Night. The segment starts with Madame Upanova waking up her ostrich dancers (they represent the Morning)

0214e-dance-of-the-hours-159

Truthfully? I did NOT know these characters had names
The ostriches are frightened away by Hyacinth Hippo and her servants (and they represent the Afternoon)
While Hyacinth takes a nap, several elephants (led by Elephanchine) come in and do a bubble dance (and they represent the Evening)
Finally, the Elephants are (literally) blown away by the evening wind and Hyacinth remains asleep, unaware that Night has now fallen and she is being observed by Ben Ali Gator (get it?) and his troop of gators. Somehow, Ali Gator falls hopelessly in love with Hyacinth and she seems to reciprocate (an alligator and a hippo?!?!) and they share a brief dance together before Hyacinth gives a brief glance of “come and get me if you want me” and Ali Gator gladly gives chase, leading to the wild finale where the other alligators chase throughout the palace, pulling out ostriches, Hippos and Elephants, all while Hyacinth and Ali Gator dance oblivious. The finale is SO tremendous in fact, that it literally brings the palace crashing down at the very end.
  • Night on Bald Mountain/Ave Maria by Modest Mussorgsky and Franz Schubert respectively
The climax of the program now comes with Night on Bald Mountain. On a distant mountain in the Eastern European countryside, the black demon Chernabog awakens at midnight and begins his devilish plan of wreaking havoc upon the world below.
40b76-film8_1
This scared me so much when i was a kid!!
Chernabog summons ghosts, witches, lesser demons and who knows what else and all converge in a riotous dance of death on the mountain top.
But just as Chernabog has gathered his full power and is about to attack, a bell rings and the demon stops. The bell continues to ring, and each time a white flash appears to blind him. It is the early hour and a nearby church is calling the monks to prayer. It is the holy power of prayer that stops Chernabog and forces him to go back to sleep for another night. Meanwhile, the monks continue to pray, and the segment gives way to Schubert’s Ave Maria
And that is how Fantasia ends. After the segment ends, we see the musicians departing the same way we came in, but there’s no more narration, no more music.
*all images are the property and copyright of Walt Disney Studios
Become a Patron of the blog at patreon.com/musicgamer460
Check out the YouTube channel (and consider hitting the subscribe button)

 

Don’t forget to like Film Music Central on Facebook 🙂
 

Film Music 101: Orchestration and cues

Of all the components that go into creating a film score, few are more important than orchestration.

Orchestration is the process whereby a musical theme is transformed into a full-fledged orchestral score. When a composer is hired to create a score for a specific film (like John Williams for Star Wars) they begin the process by watching rough cuts of the film (or storyboards, depending upon how far along the film is in production) and getting a sense of the story the director wants to be told. From there, the composer will go to the studio, sit at the piano and begin to sketch out various musical themes.

The musical themes of a film score are organized into cues. So if you looked at the score for Star Wars you might see “Cue 1: Main Title, Cue 2: Princess Leia, etc.” A film will tend to have about 20-80 cues.

Once the main draft of the score is finished, it is written in what musicians call a piano score, meaning everything is written (for now) for the piano. So, the Imperial March (which has been discussed before on this blog), would look something like this:

It looks like the theme you know, and on the piano it would even sound like the theme you know from The Empire Strikes Back, but your ears would tell you it’s not quite the same, the depth of the orchestra is still missing. So, the next step is to send the piano score off to an orchestrator (or sometimes a team of orchestrators): musicians/composers who are tasked with fleshing out the piano score into a full sized orchestral piece. Generally the composer will leave notes for when certain instruments should have certain themes, for example there might be a note saying “Horns should have main theme at measure 20” or something of that nature. Some composers (for example the late Jerry Goldsmith or even further back Bernard Herrmann) did the composing AND the orchestration all on their own. But with all the demands on a composer’s time, it is now far more common for the music to be orchestrated by someone else.
Once the process is completed, the final score now resembles something like this:
Quite a difference, isn’t it? It’s amazing how complex the world of film music really is, hope you enjoyed it!
Become a Patron of the blog at patreon.com/musicgamer460
See also:

Film Music 101: “Stinger” Chords

Film Music 101: Dubbing

Film Music 101: Diegetic vs. Non-Diegetic Music

Film Music 101: Underscore

Film Music 101: Sidelining

Film Music 101: “Test” Lyrics

Film Music 101: The First Film Score

Film Music 101: Borrowing

Film Music 101: Arranger

Film Music 101: Anempathetic sound

Film Music 101: Empathetic Sound

Film Music 101: Foley

Film Music 101: Montage

Film Music 101: Compilation Score

Film Music 101: Leitmotif

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Film Music 101: Anempathetic sound

Since yesterday I talked about empathetic sound in movies, today I thought it was only fitting to talk about the opposite: anempathetic sound.

As one might guess, anempathetic sound is when the music or sound effects in a movie stand in direct contrast to what is actually happening on the screen. For example, say you’re watching a horror movie and the upcoming victim is going about their day and say they turn on some music and a bright, chipper song is now playing (this would be diegetic music, see the first Film Music 101 post for the definition). Suddenly, the killer/monster strikes! While the victim dies a horrible, gruesome death, the happy song keeps playing on and on, indifferent to the plight of the victim.

Anempathetic sound does not have to occur solely with music however. In Hitchcock’s immortal classic Psycho, the famous shower scene takes place with the sound of running water playing continuously throughout. Even after the character is dead, the sound of water continues to play, also indifferent to the fact that a young woman was just murdered.

Never saw it coming, poor thing….

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

See also:

Film Music 101: Foley

Film Music 101: Montage

Film Music 101: Compilation Score

Film Music 101: Leitmotif

Film Music 101: Orchestration and cues

Film Music 101: “Stinger” Chords

Film Music 101: Dubbing

Film Music 101: Diegetic vs. Non-Diegetic Music

Film Music 101: Underscore

Film Music 101: Sidelining

Film Music 101: “Test” Lyrics

Film Music 101: The First Film Score

Film Music 101: Borrowing

Film Music 101: Arranger

Film Music 101: Empathetic Sound

The term I’d like to discuss today is empathetic sound

Empathetic sound occurs when the music or sound effects in a film create a mood that matches the action taking place on the screen.
So an easy example of this would be in any love scene ever created for Hollywood. You’ve probably seen the set up at least a hundred times: the guy or the girl has just said something deeply meaningful; they turn and slowly look into each others eyes; and just as they lean in to kiss…the strings in the orchestra swell up and create this deeply romantic moment as they finally kiss and acknowledge their love! (Don’t believe me? Just go to Youtube and look up famous love scenes from movies, I dare you.)

From The Adventures of Robin Hood (1937)…
to Attack of the Clones (2002) and beyond…it’s always the same!
Another good example is action sequences. For the music to be empathetic, the music needs to be fast paced, frenetic, and truthfully rather choppy to match up to the action. The Marvel movies tend to have great examples of empathetic sound in their fight scenes (and also good examples of anempathetic sound, but that’s a post for another day). A really good example comes from Marvel’s The Avengers (2012).

Picture the scene during the battle in New York when all the Avengers are standing back to back in a circle and the camera pans around to look at each of them. The music is clearly projecting “hero mode” because the stars are basically in what i like to call their “heroic pose moment.”

All the heroes in one shot!

 

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

See also:

Film Music 101: “Stinger” Chords

Film Music 101: Dubbing

Film Music 101: Diegetic vs. Non-Diegetic Music

Film Music 101: Underscore

Film Music 101: Sidelining

Film Music 101: “Test” Lyrics

Film Music 101: The First Film Score

Film Music 101: Borrowing

Film Music 101: Arranger

Film Music 101: Anempathetic sound

Film Music 101: Foley

Film Music 101: Montage

Film Music 101: Compilation Score

Film Music 101: Leitmotif

Film Music 101: Orchestration and cues

Film Music 101: Diegetic vs. Non-Diegetic Music

In movies there are two kinds of music: diegetic and non-diegetic.

Diegetic music refers to music that occurs onscreen, in the universe created by the movie. A great example is seen in Mission Impossible: Rogue Nation (which came out in the summer of 2015). Without spoiling too much, Ethan Hunt (Tom Cruise) ends up fighting some bad guys in the staging area of the Vienna Opera House while a performance of Puccini’s last opera Turandot is going on below (see the picture).
Throughout the fight, you can hear the performance going on and this serves as the “background music” to the drama happening onscreen.

Non-Diegetic music, by contrast, refers to music that is being played by an offscreen source, namely an orchestra, and most film music is considered to be non-diegetic. To record the music, the film plays on a screen while the orchestra records and it looks rather similar to the image below.
 
And there you have it, a little look into some of the terminology of film music. Expect another installment next week! Hope you enjoyed it.
Become a Patron of the blog at patreon.com/musicgamer460
Don’t forget to like Film Music Central on Facebook 🙂
See also:

The Empire Strikes Back Part Two!: Han and Leia in Love and Yoda!!

*All music shown is the property of Disney and Lucasfilm, I own nothing.

Empire_strikes_back_old

“I love you….I know…” One of the most remembered lines from the Star Wars universe came moments before Han Solo was frozen in carbonite by the evil Darth Vader. Leia finally realizes that she loves the scoundrel of an ex-smuggler and he reveals that he’s known it pretty much all along.

(On a side note, Han’s response was a complete ad-lib by Harrison Ford, as they had tried numerous takes using the generic “I love you too” and it just wasn’t working out.)

The music heard immediately before this line (when Han and Leia share a brief kiss) is the culmination of a theme that has been building since early in the film when the two are seen arguing in the ice caverns of Hoth.

Musically, this love theme is remarkably similar to Leia’s original theme (as heard in the first film):

Notice that both begin with large leaps from the first note to the second, using a pickup note. Both can also be divided into two sections, with the second section featuring a leap as well. The primary difference is that whereas the love theme drops down a whole step after the initial leap, the original Leia theme keeps going up. It’s almost like an inversion of the original theme, where the music now moves downward instead of up.

Of course Empire Strikes Back is also where we get to meet Yoda, the diminutive (size matters not!) and slightly eccentric Jedi Master who reluctantly agrees to train Luke in the ways of the Force. Yoda’s theme, a quiet melody for woodwinds, is first heard after Yoda is walking back to his hut and inviting Luke to follow. Of course at this point we have no idea that this is actually Yoda (or maybe we do, but Luke certainly doesn’t).

The theme is a perfect match for the ancient Jedi Master. It exudes a quiet confidence, the exact opposite in fact of the “Imperial March.” This theme really comes out in full when Yoda demonstrates what the Force can do when he successfully raises Luke’s sunken X-Wing from the swamp.

Become a Patron of the blog at patreon.com/musicgamer460
Check out the YouTube channel (and consider hitting the subscribe button)
Don’t forget to like Film Music Central on Facebook 🙂
See also:

“Overture” from Ben-Hur by Miklos Rozsa (1959)

One thing that must be understood about “classic” Hollywood films (usually anything made before 1960) is that in those days, the large epic films were constructed very much like an opera or a play would be. By this I mean, they would have separate screens labelled “overture” (as Ben-Hur does above), “Intermission” and also “Exit Music” (music that would play while the audience left the theatre).

This overture was composed by the Hungarian composer Miklos Rozsa for the 1959 epic Ben-Hur. He won the Academy Award for Best Score and many cite it as being one of the greatest film scores of all time. The image is an extreme close-up of the figures of Adam and God on the ceiling of the Sistine Chapel.

Above is the first eight measures from the beginning of the overture (from the original score)

I love this overture because of how it begins, with this attention-grabbing fanfare from the brass and woodwinds. The call repeats three times and swells at the last moment before the brass breaks through with the immortal “Hallelujah” motif (my term for it), the timpani thundering in the background. The motif repeats again, and again, building and swelling and then…dying away into the main love theme and other side themes that recur throughout the film. That’s a technique seen multiple times in film overtures: beginning with a brassy motif and transferring to strings (*cough* think of Star Wars *cough*)

The overture ends as it began, with the brass and woodwind trumpet call, more firm this time. This signals that the overture is ending and the main story is about to begin.

Become a Patron of the blog at patreon.com/musicgamer460

Don’t forget to like Film Music Central on Facebook 🙂

See also:

Miklos Rozsa conducts Ben-Hur suite (1979)

Jerry Goldsmith talks Alien (1979)

Jerry Goldsmith talks Alien (1979)

A look inside Goldsmith’s thought process when he created the score for the ever-terrifying Alien (for a sense of contrast, keep in mind that he composed Alien in the same year as Star Trek: The Motion Picture!!) In fact, if you listen closely, some say that you can hear some of the same minor themes in both films. Primarily listen to the music early in Alien when the camera is panning through the empty corridors of the Nostromo and compare to the music in the scene where Spock is stealing a thruster suit rather late in the film.

   *Alien credit to Bill Gold
See also:

Film Composer Interviews A-H

Film Composer Interviews K-Z

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

A Tale of Two Spocks: Spock’s Theme in Wrath of Khan and The Undiscovered Country

Whenever a film franchise is fortunate enough to grow into a large series, it is very rare that each of the films can be scored by the same composer (Star Wars being a happy exception). Because most film franchises (i.e. James Bond, Mission Impossible, Star Trek) change film composers frequently, it is common for themes to differ from one film to the next. For example, if you listen to the themes of Mission Impossible and Mission Impossible 2, you would notice a huge difference in terms of style.

Occasionally though, themes created by different composers for the same character can sound very similar. In this case, I draw your attention to a set of themes, each created for the character of Spock from the original Star Trek series. The first theme was created by James Horner for Star Trek II: The Wrath of Khan in 1982.

The music begins with a soft glass-edged melody that gently drops down into the secondary theme (plucked out by the harp). This melody is a perfect characterization of Spock: he is Kirk’s rock, the perfect voice of reason. Kirk cannot conceive of a world where Spock is not by his side (which makes the ending of the film all the more upsetting).

The second theme was composed by Cliff Eidelman for Star Trek VI: The Undiscovered Country. I apologize if the quality of sound isn’t as good, I’m still looking for an audio-only clip of this theme and when I find it I will post it here. At any rate, listen to the theme below and note how similar it is to Horner’s theme (I find both to be exceptionally beautiful).

Star Trek VI: The Undiscovered Country “Spock and Valeris”

In fact, the two themes are so complementary to one another, that one wonders if Eidelman took direct inspiration from Horner’s theme when he put this score together (it’s no secret that they wanted James Horner to compose Star Trek VI, perhaps Eidelman was instructed to imitate Horner’s style. Of course it could just all be a coincidence, but i love to speculate on these things).

Become a Patron of the blog at patreon.com/musicgamer460

Don’t forget to like Film Music Central on Facebook 🙂

"Overture" from The Magnificent Seven by Elmer Bernstein

images

Many consider this 1960 film to be the greatest Western ever made. Adapted from The Seven Samurai by Akira Kurosawa, The Magnificent Seven tells the story of 7 gunfighters who join forces to protect a poor Mexican village from a gang of bandits led by the murderous Calvera (Eli Wallach). Led by Chris (Yul Brynner), the other gunfighters consist of:

  • Vin Tanner (Steve McQueen)
  • Bernardo O’Reilley (Charles Bronson)
  • Lee (Robert Vaughn)
  • Harry Luck (Brad Dexter)
  • Britt (James Coburn)
  • Chico (Horst Buchholz

The task is one step above thankless, as the only pay is a $20 gold piece and whatever food they eat while they’re in the village. And while the group barely tolerates each other at first (as they’re all in it for various reasons, be it money, fame or simply an excuse to relieve boredom), they slowly come together to help the villagers learn to defend themselves from Calvera’s gang.

Elmer Bernstein’s overture to the film has been praised for defining not only this film, but the Western genre as a whole. I posted this theme in particular because a remake of this film is due out next year (with a posthumous score by the late James Horner) and it will be interesting to see how the music has changed from 1960 to 2016. Until the remake comes out, enjoy a classic piece of film music!

TheMagnificentSeven_Blog

From left to right: Yul Brynner, Steve McQueen, Horst Buchholz, Charles Bronson, Robert Vaughn, Brad Dexter and James Coburn.

As a quick update: while Horner’s score does include the classic overture at the very end, the film itself does not live up to the high standard set by this 1960 classic. If given the choice, always go with this one.

See also: Film Soundtracks A-W

Don’t forget to like Film Music Central on Facebook 🙂