Music, and more broadly sound design, is perhaps the most powerful tool for influencing emotion
and atmosphere available to film makers
Yeah
Both mood, and meaning, can be influenced and lead by music – music can engage the
audience emotionally far quicker than other non-narrative tools.
Unlike camera movement, or considered shot composition, or even performance, music, if
used carefully, can both tell people who aren't really paying attention what's going on,
and also inform the image and narrative.
Silent movies, shown in accompaniment to music, are a great example of what I mean by informing
the image and narrative – the music's important in selling the energy of the image,
but changes in tempo and melodic changes, give cues, or they provide character.
Ennio Morricone's Music is important in driving a lot of the tension of the iconic
showdown in The Good The Bad And The Ugly, but it also informs the atmosphere – the
feeling, and that informs meaning.
Different pieces of music can change the feeling of the same sequenc of images very easily
We can make the sequence feel not quite as creepy, and more fun, with something like
this.
Or we can put in diegetic sound – that's sound occurring, or implied to be occurring,
within the world of the film, and create atmosphere that way.
The change of music in those basement shots of Jumbo Manor, doesn't change what happens,
but it does change the presentation.
Just as if we took an oversaturated, happy image, and put a weird filter over it, music
changes the flavour but not the substance.
Or if you're looking at it analytically, the use of music tells us about the film and
what it's trying to be – succesfully or not.
Music can influence how we feel about sequences, locations, or characters.
If we meet a character for the first time, like this:
It gives us a very different ten second impression, to this:
Or this:
But music design and mixing can be more than just that – it can add cues and emphasise
important moments.
Here, in The Night Of The Generals, the music not only emphasises drama, it reflects the
psyche of the character we're focusing on – the could-do-with-a-care-package General
Tanz
Much like this famous scene from Psycho, the music works in tandem with the image and combined
is more effective than either alone.
And the way music emphasises, changes things too.
If a character in a film speaks and then, for example, breaks the fourth wall
… there is no doubt meaning there, depending on the context.
If we add music, we emphasise the importance of the same moment, in different ways.
We can make if feel like a reveal.
Or we can make it feel ominous or threatening
Or, we can make it fun.
The magic of tuba, my first solo album.
Music can also be used to change meaning, in non-fiction too.
This is easily exemplified in modern news reading, which is often accompanied by hyper-serious
music.
In fiction, sound doesn't act alone – it often accompanies sound design, and the visuals
are often to the beat.
There I cut to the second angle, on the beat, and put in a faux track – these things have
to work in tandem for the intended effect to take hold.
The music in John Wick would be just as blood pumping, but I feel far less effective, if
the same action was viewed from a single, unmoving, unbroken wide.
Even when the application is done well, use of music like this isn't always appropriate,
even if it is effective – and I think this comes down to whether the music enhances and
informs the tone, or leads it.
Important to note, I'm not necessarily talking about subtlety.
There are many films with subtle scores, where the use of music enhances tone without ever
being intrusive, or perhaps ever being noticed, however there are also scores that aren't
like that, but are still appropriate and complintary – such as Basil Polduras' work for Starship
Troopers.
Announcer: Then, anger.
Dude: The only good bug is a dead bug.
Announcer: In Geneva the Federal Council convenes.
General: You must meet the threat with our valour, our blood, indeed with our very lives.
To ensure that human civilization, not insect, dominates this galaxy now and always.
Me: The film is ironic, and so is the score – in fact I think it's pretty important in selling
the fascistic future Starship Troopers is set in.
Non-subtle pieces don't have to be meta to work though.
Morricone's almost operatic music at the end of Once Upon A Time In The West evokes
emotion, but it isn't there to fill in gaps or fix a listless film.
The film's showdown is perhaps one of the greatest acts of onscreen revenge, and the
score is a big part of it.
But it never feels as though the other components are letting the music do the work.
It never feels as if the music is rescuing what would otherwise be an unremarkable scene,
or that it's telling us what to think and feel.
And I think that's the error film makers, but perhaps more so, studios, find themselves
committing.
In big films it often feels as though the music is used not enhance tone, but just create
one.
Life, seems to be a little guilty of this, but there are many examples.
I think what it comes down to is that just like performances, scripts, or direction,
music and its use can be hackneyed, without technique being flawed.
Yes, I've managed to mention RAN, again.
In Ran, we see a tried-and-true technique done right – musical juxtaposition.
Yes it's sad, but you might expect the music in a battle scene to be more kinetic, even
if it is sombre.
In Face Slash Off, we get the Fischer Price version.
My point is, the use is the same, but the second example is style over substance.
It comes down to sincerity and intention, and there's no faking that.
I think that there is far clearer meaning behind Toru Takemitsu's music and the way
Akira Kurosawa has used it in Ran, than there is in Face Off.
There's no formulae of course – but I'd argue that this is the key.
The music in Ran informs the atmosphere, but atmosphere would exist too, if it didn't
exist.
It informs meaning, but not cheaply.
It isn't used as a fix for a problem with the scene.
Like any other component of a film, music can drive atmosphere and change meaning, but,
like any other componenet, if it's relied too heavily upon, it loses all weight – just
as if graphic imagery is used multiple times in a film – the first time might hit us,
by the eighth time, who cares?
Like an actor's performance, or shooting in a specific way, music can change as little
or as much in terms of meaning and atmosphere, as the filmmaker wants.
It's very emotionally powerful, and unlike performance or shooting, it can be changed
at any time in the edit, and that's why it's so often used as a crutch - that's
why films cannibalised by their own studios, often rely on it to the point where you wonder
if anyone involved ever saw a movie before.
Planning and nuance takes time and thought, and why bother when you can jam in five pop
songs in ten minutes.
But there you go.
Anyway, this one was a real pleasure to make, thanks for watching.
Aquaman: Oy, Batman.
I drink your milkshake.
Batman: Leave me alone, Terry.
Aquaman: Right up, Batman, right up with a straw.
You don't even know.
You'll just look down at your milkshake one day, and there'll be nothing there.
Because I drink… your milkshake!
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