the process - being a job - is only someway forced.Ī fascination. It's like an accelerated exposure to emotions and life which is always behind a melody or a tune. musicians are exposed to several views of film itself to absorb the moods, images, the message the director wished to give, etc. Sometimes music for films is still composed in an old-timey fashion - i.e. the director usually got trapped in some obscure music by chance and this very casual attitude is as mysterious as love and gives to these quite common practice an STP-like character and special quality. isn't a case great music comes from almost unknown composers. Nyman's the master, also Jocelyn Pook in Kubrick's "Eyes Wide Shut" and Laurent Petigand in Wim Wenders' "The Wings of Desire". them all did a superb job combined with director work, but IMO what really make a film & music connection is when, too seldom, music hints instead shouting at the audience. the classic, Alfred Newman's, Rozsa's, Hermann's, Williams', Horner's. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzscheįiogf49gjkf0dI've been an avid original soundtracks and film music collector for most of my life, and still I didn't find the PERFECT music for a movie. "I wish I could score everything for horns." - Richard Wagner. That descends was “orchestrated” by Du Pre’s unparallel play of Elgar’s Cello concerto… You can’t mix visual and musical expressively with more effectiveness then that When Jacqueline was torched by multiple sclerosis attack and her mind was submerging into the drain of her memories there was a moment in there when the camera fast-descending into a black hole of Du Pre’s fantasies. The film is very much controversial but there was a moment in there worth the price of whole admission. (You must have a translation and to follow his every word, and at the very righ time)Īnother interesting moment that I can recall now (listening Du Pre’s Beethoven sonatas) was in “Hilary and Jackie”. His play, his face and with his commentaries were like nothing else. I remember in “Art of Piano” there was a short episode where Alfred Cortot at his late 80s was teaching his student. I can recall literally a few moments where visual and woundable was working together “really good” I would hardly name a whole film but just very short episodes. It is interesting that there are very few good films about music and there are very moments where cinematograph works “right” with music. Yep, the “32 short films about Glenn Gould” was a wonderful film, a classic how the films about musicians shell be done. The American Nutcracker – the “The Hard Hut”. Home » Musical Discussions » Alessandro Baricco's "Lesson 21" or the challenge of Music and Movie (14 posts, 1 page)
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