0:00:03.757,0:00:08.317
For much of the 20th century, our idea of cinema music was classical,

0:00:08.317,0:00:11.517
symphonic, stately even.

0:00:11.517,0:00:14.117
MUSIC: "Jumpin' Jack Flash" by The Rolling Stones

0:00:14.117,0:00:16.717
But might this also be film music?

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A pop hit by The Rolling Stones turned up to full volume,

0:00:20.397,0:00:23.677
- driving the action. [br]- # Watch it! #

0:00:25.077,0:00:28.197
MARTIN SCORSESE: 'The music I knew, and the music that scored my life,

0:00:28.197,0:00:29.877
'is the music I heard growing up.

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'And the music that was around me at the time.'

0:00:32.277,0:00:37.277
And that was the music that propelled all the action in the story.

0:00:37.277,0:00:41.757
Mean Streets was the most extreme expression yet of how

0:00:41.757,0:00:45.277
popular music had pushed aside the symphonic tradition

0:00:45.277,0:00:47.277
to take hold of the film score.

0:00:47.277,0:00:51.277
As new musical genres like rock, pop and disco were born,

0:00:51.277,0:00:53.397
they reverberated throughout cinema.

0:00:53.397,0:00:56.797
MUSIC: "A Hard Day's Night" by The Beatles

0:00:56.797,0:01:00.117
Popular music revitalised the soundtrack,

0:01:00.117,0:01:02.157
and indeed the movies themselves.

0:01:02.157,0:01:06.277
More distinctive, simpler, more direct, more memorable.

0:01:06.277,0:01:09.317
It was music that appealed to a younger audience.

0:01:09.317,0:01:11.357
And to a new generation of composers

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and directors who knew how to use it.

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These composers pushed the film score in fresh, exciting directions.

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Composers like John Barry.

0:01:22.437,0:01:26.317
MUSIC: "James Bond Theme" by John Barry Orchestra

0:01:28.357,0:01:33.517
Those screaming horns are giving us a tremendous sense of power and sex.

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And Lalo Schifrin,

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whose cool jazz beats gave an inner voice to iconic movie stars.

0:01:42.837,0:01:45.997
MUSIC: "Bullitt Theme" by Lalo Schifrin

0:01:45.997,0:01:48.157
'Steve McQueen, he said,'

0:01:48.157,0:01:50.477
"Bullitt is a very simple guy.

0:01:50.477,0:01:52.557
"I want you to write a simple theme."

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It was pop arranger Ennio Morricone who orchestrated this.

0:02:00.757,0:02:03.637
One of the greatest gunfights in cinema.

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Here the characters are choreographed to the music

0:02:10.477,0:02:12.197
in an almost operatic way.

0:02:13.837,0:02:16.677
But pop has also been used for commercial

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rather than creative reasons.

0:02:18.677,0:02:21.197
To help fund and promote big budget movies.

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MUSIC: "Take My Breath Away" by Berlin

0:02:25.157,0:02:28.757
MUSIC: "Misirlou" by Dick Dale

0:02:28.757,0:02:31.357
And when the most influential director of his generation

0:02:31.357,0:02:34.717
decides he can get rid of original scores altogether,

0:02:34.717,0:02:37.757
has the use of popular music in film gone too far?

0:02:39.757,0:02:42.237
Is it really possible to cut out the composer

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and still make a musically great film?

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JAZZ MUSIC PLAYS

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In the late 1940s,

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cities across America were buzzing with a new style of jazz.

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More exciting, less predictable, more like the sound of real life.

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But it was far removed from the discipline of

0:03:18.037,0:03:20.157
the traditional film score.

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And Hollywood cinema wasn't ready for it.

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Until a film came along in 1951 which would be the perfect vehicle.

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A Streetcar Named Desire boasted the first all-jazz score.

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And it's one of those movies I can remember seeing for the first time.

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I was completely blown away by the jazz - the immediacy of it.

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The physicality, too.

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And if it had that effect on me in the 1980s,

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think what it did to audiences in 1951.

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A Streetcar Named Desire stars Marlon Brando as Stanley.

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The arrival of his unstable sister-in-law Blanche,

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played by Vivienne Leigh, causes sexual tension,

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which leads to her breakdown.

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You can hear the seeds of this in the music

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from their very first encounter.

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SLOW JAZZ MUSIC

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The soundtrack was the debut film score of Alex North.

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A modernist composer who loved jazz.

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And had long wondered

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if its essence could be captured in a more classical musical structure.

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With Streetcar, North harnessed the rhythms and harmonies of jazz

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to emphasise the complex chemistry between the characters.

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As soon as Stanley walks in the room,

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you get this brilliant jazz riff.

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HE PLAYS PIANO

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It's got a march to it, a sort of step.

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It's like the march of fate - he will be her nemesis.

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Over that we get these two gorgeous sax solos.

0:05:01.837,0:05:04.517
One of them starts almost straightaway.

0:05:04.517,0:05:06.117
Which is kind of Stanley.

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- You must be Stanley. I'm Blanche. [br]- Oh, you're Stella's sister.

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- Yes. [br]- Oh, hi.

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There's a real sense that Stanley's there in all his sweaty glory.

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We suddenly hear another sax solo,

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which immediately begins to climb higher and higher and higher.

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Until it almost gets within a range beyond which it can't go.

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That is Blanche.

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Hey, you mind if I make myself comfortable?

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- My shirt is sticking to me. [br]- Please, please. Please do.

0:05:45.517,0:05:49.357
That sax solo is telling us what she's feeling.

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And she's already close to breakdown.

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These are all moments in the scene that simply couldn't be

0:05:54.957,0:05:56.597
put across any other way.

0:05:56.597,0:05:59.357
And what the instruments are doing is being played in a way

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whereby you can hear the breath, you can hear the notes

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moving around, you can hear them being bent and changed.

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And it begins to sound like a human voice.

0:06:08.117,0:06:13.517
When you add that sound to a scene, there's a real sense of physicality.

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Humanity, if you like.

0:06:15.637,0:06:18.877
Something which you couldn't get out of classical music.

0:06:18.877,0:06:22.477
But which jazz gives you from the first second you hear a note.

0:06:22.477,0:06:25.877
But this is no ordinary love triangle.

0:06:25.877,0:06:30.037
Despite Blanche's attraction to Stanley, it's Stella, his wife,

0:06:30.037,0:06:33.917
with her unavoidable sexual power, who really has a hold over him.

0:06:33.917,0:06:36.437
Stella!

0:06:38.117,0:06:40.437
Hey, Stella!

0:06:40.437,0:06:43.997
North's score in this scene is doing what all great film music does -

0:06:43.997,0:06:46.237
telling us more than we can see.

0:06:46.237,0:06:50.237
And in this case, more than the characters will actually tell us.

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This scene's about desire.

0:06:52.637,0:06:56.357
You can hear in every note of that sax how Stanley feels about Stella.

0:06:56.357,0:06:58.237
And how she feels about him.

0:06:58.237,0:07:00.997
And what binds the two of them together.

0:07:00.997,0:07:03.557
ATMOSPHERIC JAZZ MUSIC

0:07:08.237,0:07:10.277
And that was the problem.

0:07:10.277,0:07:13.877
The Legion Of Decency, a self appointed moral pressure group,

0:07:13.877,0:07:15.997
were very powerful at this time.

0:07:15.997,0:07:19.637
They saw the scene, heard the music and took exception to both.

0:07:20.917,0:07:25.357
The scene had to be cut, and North had to go back and rescore.

0:07:25.357,0:07:29.677
Out went the sax to be replaced by strings.

0:07:29.677,0:07:31.397
EMOTIONAL MUSIC

0:07:33.117,0:07:36.517
Sentimentality took over from sensuality.

0:07:39.437,0:07:43.757
And in the version everybody saw, Stella wanted Stanley back.

0:07:43.757,0:07:47.877
But in North's original, Stella just wanted Stanley.

0:07:52.477,0:07:54.397
Don't ever leave me, baby.

0:07:59.197,0:08:04.397
Through the 1950s, jazz expanded the range of film music in America.

0:08:04.397,0:08:08.197
And drove a wave of gritty dramas whose soundtracks captured

0:08:08.197,0:08:12.517
the moral complexities of the characters and stories.

0:08:12.517,0:08:15.517
MUSIC: "Beat Girl Theme" by John Barry

0:08:15.517,0:08:17.837
Across the Atlantic,

0:08:17.837,0:08:20.757
Britain was producing its own socially aware dramas

0:08:20.757,0:08:22.957
with contemporary scores to match.

0:08:29.517,0:08:31.997
Beat Girl was set in the Soho beat scene.

0:08:31.997,0:08:35.557
And while its moralistic plot was all a bit trad, its music

0:08:35.557,0:08:39.517
harnessed the urgency and energy of jazz-influenced British pop.

0:08:42.636,0:08:45.797
Beat Girl was the debut film score by John Barry -

0:08:45.797,0:08:48.877
a young composer and arranger who'd had several pop hits

0:08:48.877,0:08:51.477
with his own group, The John Barry Seven.

0:08:54.437,0:08:57.997
The band's signature sound was driven by catchy guitar riffs

0:08:57.997,0:09:01.037
and Barry's own trumpet solos.

0:09:01.037,0:09:05.197
Barry's real ambition was to have a career as a pop star.

0:09:05.197,0:09:07.757
And he only landed the Beat Girl job

0:09:07.757,0:09:11.197
because he shared the same manager as the film's star Adam Faith.

0:09:11.197,0:09:14.037
# I diss what you told me... #

0:09:14.037,0:09:16.157
But maybe it was predestined.

0:09:16.157,0:09:18.877
Barry's father had run a cinema chain

0:09:18.877,0:09:21.357
and, as a child, he'd lapped up movies.

0:09:22.717,0:09:25.957
John Barry worked here in Soho - the heart of London's film

0:09:25.957,0:09:28.997
and music industries. Tin Pan Alley.

0:09:28.997,0:09:32.837
He even used a strip club as a rehearsal space for his band,

0:09:32.837,0:09:34.437
The John Barry Seven.

0:09:34.437,0:09:37.717
I think you can hear those influences in the job that he did.

0:09:37.717,0:09:42.637
Arranging and performing the theme to the first James Bond film, Dr No.

0:09:42.637,0:09:45.397
MUSIC: "James Bond Theme" by John Barry Orchestra

0:09:45.397,0:09:49.437
Dr No's opening titles are animated entirely around the rhythm

0:09:49.437,0:09:52.517
of the music - pushing it to the fore.

0:09:52.517,0:09:54.877
We can't ignore the swagger of the guitar

0:09:54.877,0:09:57.677
and the almost sleazy quality of the horns.

0:10:03.037,0:10:06.037
Barry was brought in to arrange this theme from a tune

0:10:06.037,0:10:09.837
written by big band singer Monty Norman.

0:10:09.837,0:10:11.037
I never saw the movie.

0:10:11.037,0:10:13.637
I never met Saltzman and Broccoli. I never met the director.

0:10:13.637,0:10:17.117
I never even read a script. I just knew Bond.

0:10:17.117,0:10:19.237
I think it was in the Daily Mail,

0:10:19.237,0:10:24.877
there was a strip of Bond, which I'd occasionally looked at.

0:10:24.877,0:10:26.997
So I knew what it was about.

0:10:26.997,0:10:30.397
Monty Norman's theme for Dr No was based on a number

0:10:30.397,0:10:33.237
he'd written for musical. And it went like this.

0:10:33.237,0:10:36.357
HE PLAYS DR NO MELODY

0:10:37.717,0:10:40.997
So what John Barry did in his arrangement, was bring to it

0:10:40.997,0:10:43.397
everything he understood about pop and jazz.

0:10:43.397,0:10:46.197
First of all, he kept that melody line but he gave it to

0:10:46.197,0:10:48.517
the twangy guitar that he understood so well

0:10:48.517,0:10:50.197
from The John Barry Seven days.

0:10:50.197,0:10:53.437
Then he added a real driver behind it, which is

0:10:53.437,0:10:55.557
this deep bass brass sound.

0:10:55.557,0:10:58.637
HE PLAYS THEME

0:11:03.237,0:11:07.277
Then he added this fabulous middle eight, which takes the music

0:11:07.277,0:11:09.357
and the film on to a different level.

0:11:09.357,0:11:12.197
HE PLAYS THEME

0:11:16.197,0:11:18.077
That screaming horn section

0:11:18.077,0:11:20.757
has an extraordinary confidence and raciness.

0:11:22.037,0:11:24.797
But it's also deeply pop. It's deeply jazz.

0:11:24.797,0:11:27.557
It's got a wonderful kind of mish-mash of all the things

0:11:27.557,0:11:28.997
that John Barry understood.

0:11:28.997,0:11:32.477
MUSIC: "James Bond Theme" by John Barry Orchestra

0:11:37.237,0:11:41.597
John Barry got paid 250 quid for his arrangement of the Bond theme.

0:11:41.597,0:11:44.717
And it wasn't until he queued up with everybody else to see

0:11:44.717,0:11:47.837
Dr No at the cinema that he realised how ubiquitous his theme was.

0:11:47.837,0:11:51.157
He contacted the producers, saying, "I arranged your opening title

0:11:51.157,0:11:54.317
"music, I didn't expect to hear it sploshed through the whole film.

0:11:54.317,0:11:56.237
"Can I have some more money?"

0:11:56.237,0:11:59.117
They said, "No, but you can score the next one.

0:11:59.117,0:12:00.957
"If there is a next one."

0:12:00.957,0:12:04.677
In fact, Barry went on to score 11 Bond movies.

0:12:04.677,0:12:07.637
And you can hear the difference when he's not just an arranger

0:12:07.637,0:12:10.877
but a fully-fledged composer in his own right.

0:12:10.877,0:12:14.077
MUSIC: "Goldfinger" by Shirley Bassey

0:12:22.637,0:12:26.197
For Goldfinger, Barry drew from his pop contacts,

0:12:26.197,0:12:29.397
casting Shirley Bassey to sing the title song.

0:12:30.437,0:12:33.317
LOUD KISS

0:12:33.317,0:12:37.037
# It's the kiss of death

0:12:37.037,0:12:40.717
# From Mr Goldfinger... #

0:12:40.717,0:12:44.237
From now on, every Bond movie's title number would be

0:12:44.237,0:12:47.437
performed by a leading pop star of the day.

0:12:47.437,0:12:49.597
And the song would help sell the movie.

0:12:49.597,0:12:52.397
# ..His heart is cold

0:12:52.397,0:12:54.917
# He loves only gold... #

0:12:54.917,0:12:58.157
Having firmly established his Goldfinger theme

0:12:58.157,0:12:59.717
in the opening song, Barry runs it

0:12:59.717,0:13:04.037
though a series of symphonic variations throughout the film.

0:13:04.037,0:13:08.117
As when Bond pursues Goldfinger through the Swiss Alps.

0:13:08.117,0:13:11.157
VARIATION ON BOND THEME PLAYS

0:13:14.557,0:13:17.917
And here, Barry seamlessly switches from the original Bond theme

0:13:17.917,0:13:20.877
to the Goldfinger tune.

0:13:20.877,0:13:24.477
MUSIC PLAYS

0:13:24.477,0:13:26.437
He's on the move.

0:13:35.997,0:13:39.517
Although his music's origins are rooted in pop and jazz,

0:13:39.517,0:13:43.157
Barry was also scoring the characters with their own themes -

0:13:43.157,0:13:46.557
in a way traditional Hollywood composers would have understood.

0:13:47.877,0:13:50.877
Barry's success showed how the worlds of film

0:13:50.877,0:13:54.237
and pop music were drawing ever closer together.

0:13:59.837,0:14:03.917
But throughout the '60s, although pop was becoming an ally of film,

0:14:03.917,0:14:07.677
it also threatened to pull young audiences away from the movies,

0:14:07.677,0:14:10.157
overtaking them in popularity.

0:14:10.157,0:14:12.637
MUSIC: "Hard Day's Night" by The Beatles

0:14:14.837,0:14:20.077
So, with a strident guitar chord and an opening shot that captures

0:14:20.077,0:14:22.877
the tidal wave of fan hysteria,

0:14:22.877,0:14:27.037
one film set out directly to embrace the pop phenomenon.

0:14:29.437,0:14:32.917
A Hard Day's Night - the first film to feature The Beatles,

0:14:32.917,0:14:35.157
the world's biggest pop band.

0:14:35.157,0:14:37.717
Nobody had ever seen anything like it before.

0:14:37.717,0:14:39.477
But then that was the idea.

0:14:39.477,0:14:42.157
A young generation could tell straightaway,

0:14:42.157,0:14:45.077
this was a movie aimed directly at them.

0:14:45.077,0:14:47.597
# So why on earth should I moan

0:14:47.597,0:14:49.917
# Cos when I get you alone

0:14:49.917,0:14:52.197
# You know I feel OK... #

0:14:52.197,0:14:56.317
Director Richard Lester faced a unique challenge.

0:14:56.317,0:14:59.237
He had to choose songs which had already been

0:14:59.237,0:15:02.077
recorded by The Beatles before a script had even been written.

0:15:02.077,0:15:05.557
And somehow construct a film that made sense.

0:15:06.597,0:15:10.597
We were given ten songs and I rejected two.

0:15:10.597,0:15:12.717
You sit down,

0:15:12.717,0:15:16.757
given this bag of toys, of wonderful songs,

0:15:16.757,0:15:18.757
and you think,

0:15:18.757,0:15:20.757
"I can't see where this can go."

0:15:23.077,0:15:27.237
The only thing that bound these songs together was the band.

0:15:27.237,0:15:31.677
So Lester looked to the Beatles themselves for ideas about how

0:15:31.677,0:15:34.637
to build his sequences.

0:15:34.637,0:15:38.477
They all had a fairly developed sense of the surreal.

0:15:38.477,0:15:43.677
The first thing I tried to do with the film is to let the audience

0:15:43.677,0:15:49.477
know that things were not going to be a straightforward documentary

0:15:49.477,0:15:54.117
narrative of a day in the life of The Beatles.

0:15:54.117,0:15:56.677
Aye, aye, the Liverpool shuffle.

0:15:56.677,0:15:58.637
In this scene,

0:15:58.637,0:16:03.277
the band magically switch from playing cards to playing a song.

0:16:03.277,0:16:05.997
MUSIC: "When I Get Home" by The Beatles

0:16:07.717,0:16:10.557
# Whoa-whoa I... #

0:16:10.557,0:16:15.157
It was saying to the audience, "You see, life is not as you think it is.

0:16:15.157,0:16:17.917
"There is a surreal quality to them."

0:16:17.917,0:16:21.957
# Can't you see? Can't you see? #

0:16:21.957,0:16:28.797
The whole of Hard Day's Night was starting out of them

0:16:28.797,0:16:32.717
being ordered about in small spaces.

0:16:32.717,0:16:33.997
And no messing about.

0:16:33.997,0:16:36.917
Lennon, put those girls down or I'll tell your mother on you.

0:16:36.917,0:16:41.077
'Being yelled at and being chased by people,

0:16:41.077,0:16:43.957
'and that sudden sense of relief.'

0:16:43.957,0:16:45.997
We're out!

0:16:45.997,0:16:48.517
MUSIC: "Can't Buy Me Love" by The Beatles

0:16:48.517,0:16:53.757
'When they break out and run down a staircase and out into a field.'

0:16:53.757,0:16:56.237
# I'll buy you a diamond ring... #

0:16:56.237,0:16:58.197
CHEERING

0:16:58.197,0:17:02.117
The success of A Hard Day's Night showed how pop music

0:17:02.117,0:17:04.797
could get younger audiences flocking to the cinema.

0:17:12.117,0:17:15.597
Hollywood had also seen how the wind was blowing.

0:17:15.597,0:17:18.196
And leading the way was Walt Disney.

0:17:18.196,0:17:21.077
Looking to appeal to children and parents alike,

0:17:21.077,0:17:25.396
Disney realised his new composers had to be au fait with the pop song.

0:17:25.396,0:17:28.317
He signed up the song-writing duo, brothers Richard

0:17:28.317,0:17:32.597
and Robert Sherman, creators of the smash hit You're Sixteen.

0:17:34.237,0:17:36.317
My dad challenged us to write pop music.

0:17:36.317,0:17:38.437
And we started writing pop songs.

0:17:38.437,0:17:44.277
And we had some big number one hits with rock 'n' roll songs.

0:17:44.277,0:17:48.157
Uncle Walt wanted the brothers to bring their song-writing magic

0:17:48.157,0:17:50.517
to a new Disney movie.

0:17:50.517,0:17:53.677
He said, "You know what a nanny is?" We said, "Oh, yeah, it's a goat.

0:17:53.677,0:17:56.637
"You want to do an animated film about a nanny goat?"

0:17:56.637,0:17:59.197
"No, no, no," he says. "It's an English nursemaid."

0:17:59.197,0:18:00.957
"Oh, yeah, sure. We can..."

0:18:00.957,0:18:03.797
So we read this enchanting series of stories.

0:18:03.797,0:18:07.957
The challenge facing the brothers was not only to compose

0:18:07.957,0:18:12.837
the songs for Mary Poppins, but to construct a story from these books.

0:18:14.397,0:18:17.197
We were reading them with great alarm because we'd say,

0:18:17.197,0:18:20.197
"Well what's the plot? I mean, where is the storyline?"

0:18:20.197,0:18:22.277
It was not a storyline at all.

0:18:22.277,0:18:25.957
It was just wonderful adventures with this magical nanny

0:18:25.957,0:18:29.157
who comes in and does great stuff, and then she leaves.

0:18:29.157,0:18:32.117
So we knew we had to do some quick thinking.

0:18:32.117,0:18:34.637
Let's come in with a storyline.

0:18:34.637,0:18:37.717
MUSIC: "Boiled Beef And Carrots" by Harry Champion

0:18:37.717,0:18:42.757
The brothers fused American pop with a more surprising tradition -

0:18:42.757,0:18:45.677
English music hall.

0:18:45.677,0:18:48.277
# Boiled beef and carrots

0:18:48.277,0:18:49.957
# Boiled beef and carrots... #

0:18:49.957,0:18:52.117
Their passion for these songs would be

0:18:52.117,0:18:54.237
the inspiration behind the film's score.

0:18:54.237,0:18:57.237
With the movie set in Edwardian London.

0:18:57.237,0:19:01.157
I've always been a fan of English music hall.

0:19:01.157,0:19:03.397
Those wonderful old songs. Boiled Beef And Carrots.

0:19:03.397,0:19:05.117
All those things like that.

0:19:05.117,0:19:08.157
Walt bought that right away. He knew what I was talking about.

0:19:08.157,0:19:11.877
We were called in and there were Walt Disney, all of them

0:19:11.877,0:19:15.077
singing Knees Up Mother Brown, kicking their feet up in the air.

0:19:15.077,0:19:16.637
And they were all out of breath.

0:19:16.637,0:19:20.477
And Walt said, "Now, I want you to write me a song like this, right?"

0:19:20.477,0:19:23.117
We said, "Yes, Walt, we'll write you a song like that."

0:19:23.117,0:19:24.757
So we started with...

0:19:24.757,0:19:26.397
# Step in time, step in time

0:19:26.397,0:19:27.797
# Step in time, step in time

0:19:27.797,0:19:29.597
# You never need a reason, never need a rhyme

0:19:29.597,0:19:31.157
# Step in time you step in time... #

0:19:31.157,0:19:32.837
Link your elbows!

0:19:32.837,0:19:34.797
# Link your elbows, step in time

0:19:34.797,0:19:36.397
# Link your elbows, step in time

0:19:36.397,0:19:37.957
# Link your elbows, link your elbows

0:19:37.957,0:19:39.717
# Link your elbows... #

0:19:39.717,0:19:42.437
That little piece went for 12 minutes.

0:19:42.437,0:19:45.597
You know, one of the greatest scenes you've ever seen.

0:19:45.597,0:19:48.917
And the Shermans would mix all the ingredients that make a classic

0:19:48.917,0:19:53.277
pop song - a memorable lyric, a catchy melody and a potent hook -

0:19:53.277,0:19:56.037
to create the film's most-loved tune.

0:19:59.117,0:20:01.397
We came up with this nonsense word,

0:20:01.397,0:20:04.077
which we decided would be a great gift for Mary Poppins

0:20:04.077,0:20:05.677
to give to the children.

0:20:05.677,0:20:07.237
So we said, "Let's give them

0:20:07.237,0:20:09.677
"a really, funny, crazy, obnoxious word."

0:20:09.677,0:20:12.397
And we started, we said, "It's got to be super colossal."

0:20:12.397,0:20:15.917
And super colossal...well, anybody would write super colossal.

0:20:15.917,0:20:18.757
So we said, "Super something, super crazy,

0:20:18.757,0:20:21.037
"super caga...flava...slava...

0:20:21.037,0:20:25.757
"Supercali... supercalifragilistic! A-ha!" And then, we had...

0:20:25.757,0:20:28.557
# Um diddle diddle um diddle ay Um diddle diddle diddle um

0:20:28.557,0:20:31.157
# Because I was afraid to speak When I was just a lad

0:20:31.157,0:20:34.717
# Me father gave me nose a tweak And told me I was bad...

0:20:34.717,0:20:38.237
# But then one day I learned a word That saved me aching nose

0:20:38.237,0:20:41.317
# The biggest word you ever heard And this is how it goes, oh!

0:20:41.317,0:20:44.197
# Supercalifragilisticexpialidocious

0:20:44.197,0:20:47.477
# Even though the sound of it Is something quite atrocious

0:20:47.477,0:20:50.757
# If you say it loud enough You'll always sound precocious

0:20:50.757,0:20:52.877
# Supercalifragilisticexpialidocious

0:20:52.877,0:20:56.357
# Um diddle diddle um diddle ay # Um diddle diddle um diddle ay... #

0:20:56.357,0:21:00.157
These songs earned the Sherman Brothers two Academy Awards.

0:21:00.157,0:21:02.757
# I've reached the top And had to stop

0:21:02.757,0:21:04.757
# And that's what bothering me... #

0:21:04.757,0:21:08.517
Their knack for writing pop tunes would underlay the huge success

0:21:08.517,0:21:11.917
they went on to enjoy with other classic Disney movies,

0:21:11.917,0:21:13.517
like The Jungle Book.

0:21:13.517,0:21:15.997
# ..I'm tired of monkeying around!

0:21:15.997,0:21:17.597
# Oh, oobee doo

0:21:17.597,0:21:20.477
# I wanna be like you

0:21:20.477,0:21:24.037
# I wanna walk like you Talk like you... #

0:21:24.037,0:21:26.597
The Shermans had applied their pop sensibility

0:21:26.597,0:21:30.077
to reinvigorate the animated musical.

0:21:30.077,0:21:33.117
But in Europe, an entirely different film genre

0:21:33.117,0:21:36.797
would unexpectedly be changed by a pop composer.

0:21:39.517,0:21:43.397
This is the opening of A Fistful Of Dollars,

0:21:43.397,0:21:46.877
its bold graphics and striking music a declaration

0:21:46.877,0:21:49.197
that the Spaghetti Western had arrived.

0:21:51.517,0:21:53.957
Italian filmmakers were giving new life

0:21:53.957,0:21:56.077
to one the oldest genres of cinema.

0:21:56.077,0:21:58.117
Written by Ennio Morricone,

0:21:58.117,0:22:00.917
this title theme boasts the kind of elements

0:22:00.917,0:22:03.197
that made his sound so distinctive -

0:22:03.197,0:22:05.077
the melody, the whistles,

0:22:05.077,0:22:07.117
the recording of a whip crack.

0:22:08.837,0:22:10.117
HORSE TROTTING

0:22:10.117,0:22:11.997
GUNSHOTS

0:22:14.237,0:22:17.717
This use of real world sounds came from Morricone's time

0:22:17.717,0:22:20.637
as an arranger of Italian pop records.

0:22:21.877,0:22:24.517
TRANSLATION FROM ITALIAN:

0:22:39.357,0:22:42.837
The music for A Fistful Of Dollars was based on a pop record

0:22:42.837,0:22:46.437
that Morricone had arranged called Pastures Of Plenty,

0:22:46.437,0:22:49.717
which had impressed director Sergio Leone.

0:22:49.717,0:22:51.557
# We come with the dust

0:22:51.557,0:22:54.077
# And we're gone with the wind

0:22:54.077,0:22:59.837
# Oh, oooh, oooh, oooh... #

0:22:59.837,0:23:03.277
Leone and Morricone had been friends since childhood,

0:23:03.277,0:23:06.557
but Leone also knew that the innovation Morricone had shown

0:23:06.557,0:23:09.757
on his pop records could deliver something special

0:23:09.757,0:23:11.357
despite a tight budget.

0:23:13.357,0:23:16.397
Morricone brings his own sensibility to the Western,

0:23:16.397,0:23:20.717
he mixes his kind of idea of '60s music and modern sounds

0:23:20.717,0:23:24.717
and very individualistic sounds with the idea of the Old West,

0:23:24.717,0:23:29.197
the Spanish guitar, the whistle, this sense of folk music.

0:23:29.197,0:23:33.117
And here, he combines this with the 19th-century European device

0:23:33.117,0:23:35.557
of the leitmotif.

0:23:35.557,0:23:39.237
So out of that title music, when we first see Clint Eastwood,

0:23:39.237,0:23:40.917
The Man With No Name,

0:23:40.917,0:23:42.637
he gets his own little motif.

0:23:42.637,0:23:45.597
FLUTE PLAYS

0:23:45.597,0:23:48.037
Just a little flute...

0:23:48.037,0:23:51.717
But then, when he is spotted by the villain, you get this.

0:23:52.997,0:23:55.357
PIANO PLAYS

0:23:55.357,0:23:59.237
And it's got a little bit more of a sense of danger about it.

0:23:59.237,0:24:01.877
PIANO PLAYS

0:24:03.037,0:24:05.717
And above that comes the Japanese flute,

0:24:05.717,0:24:07.357
which to me says, you know,

0:24:07.357,0:24:08.957
Yojimbo, which is the Japanese epic

0:24:08.957,0:24:11.357
on which this film was entirely based.

0:24:11.357,0:24:13.357
So now, Eastwood is a samurai.

0:24:13.357,0:24:15.277
This is what Morricone does,

0:24:15.277,0:24:19.317
he drops these tiny musical ideas into the film throughout,

0:24:19.317,0:24:21.717
giving us a different feel, a different sound each time,

0:24:21.717,0:24:24.517
sometimes very, very short, just a couple of notes.

0:24:28.917,0:24:31.917
Here we have the other great gift that Morricone has,

0:24:31.917,0:24:34.597
a gift for melody, and not just melody,

0:24:34.597,0:24:36.597
a melody that will break your heart.

0:24:36.597,0:24:38.197
MELODY PLAYS

0:24:38.197,0:24:39.877
Get three coffins ready.

0:24:42.797,0:24:44.957
But often, a melody that is placed

0:24:44.957,0:24:49.157
either before or during the most violent moments of these films,

0:24:49.157,0:24:53.117
it gives them an extraordinary texture. Listen to this.

0:24:53.117,0:24:55.877
MELANCHOLIC PIANO PIECE

0:25:05.957,0:25:07.837
MELODY CONTINUES

0:25:16.197,0:25:18.037
It's actually still quite a thin sound,

0:25:18.037,0:25:20.837
it's a single melodic instrument over a string section,

0:25:20.837,0:25:22.277
so it's not full orchestra.

0:25:22.277,0:25:24.037
This is partially because of budget,

0:25:24.037,0:25:27.037
but also because I think Morricone understands

0:25:27.037,0:25:31.397
that we want to hear small textures working under these moments,

0:25:31.397,0:25:34.677
but it really makes us root for Clint Eastwood

0:25:34.677,0:25:38.437
and gives Clint Eastwood's character a soft side

0:25:38.437,0:25:42.277
which is simply not there in the way that he plays it.

0:25:46.557,0:25:48.597
By the time we get to the final shootout,

0:25:48.597,0:25:50.797
that theme of Eastwood's has become huge.

0:25:50.797,0:25:53.317
We now have a trumpet on the lead line,

0:25:53.317,0:25:55.197
very Spanish, beautiful.

0:25:55.197,0:25:58.717
We have strings behind, we have the voices behind,

0:25:58.717,0:26:00.637
so it has an amazing strength.

0:26:00.637,0:26:03.677
FULL MELODY PLAYS

0:26:10.917,0:26:13.357
And we're now in a world of ritual.

0:26:13.357,0:26:17.357
It's as if the music is making the characters choreographed.

0:26:18.757,0:26:22.197
They appear to move in time with the music.

0:26:22.197,0:26:24.957
MELODY INTENSIFIES

0:26:31.957,0:26:34.477
And it gives it that timeless quality,

0:26:34.477,0:26:37.037
but it also gives it an operatic quality -

0:26:37.037,0:26:40.637
this shootout was inevitable from the first moment of the film

0:26:40.637,0:26:44.877
and now the music is giving us the arena within which it can happen.

0:26:52.997,0:26:57.597
Scenes like these placed Morricone in the great tradition of composers

0:26:57.597,0:27:00.317
who shaped not just the sound of a movie,

0:27:00.317,0:27:02.437
but its very construction.

0:27:02.437,0:27:06.037
In these and his subsequent films with director Sergio Leone,

0:27:06.037,0:27:10.117
Morricone was a fully-fledged artistic collaborator

0:27:10.117,0:27:12.317
in creating the cinematic drama.

0:27:16.837,0:27:21.517
The Spaghetti Western established a trend for increasingly violent films

0:27:21.517,0:27:23.677
with almost wordless heroes,

0:27:23.677,0:27:26.997
whose inner nature was expressed through the music.

0:27:29.237,0:27:31.237
This method of scoring characters

0:27:31.237,0:27:33.517
would make its way into American cinema

0:27:33.517,0:27:36.557
through a film shot here, on the West Coast.

0:27:38.677,0:27:42.717
I'm driving through San Francisco, it's a beautiful sunny day.

0:27:42.717,0:27:44.117
And thanks to the movies,

0:27:44.117,0:27:47.517
these are some of the most recognisable streets in the world.

0:27:47.517,0:27:49.237
But there's something missing.

0:27:49.237,0:27:51.157
JAZZ MUSIC PLAYS

0:27:51.157,0:27:52.437
That's more like it.

0:28:01.477,0:28:04.237
This is the soundtrack to the movie Bullitt,

0:28:04.237,0:28:08.157
set in San Francisco and starring Steve McQueen.

0:28:14.197,0:28:16.597
Bullitt was scored by Lalo Schifrin,

0:28:16.597,0:28:18.757
an Argentinian-born composer

0:28:18.757,0:28:22.077
who trained in both classical and jazz music.

0:28:22.077,0:28:24.557
He'd worked in Hollywood since the early '60s

0:28:24.557,0:28:29.317
and was best known for his theme to TV series Mission: Impossible.

0:28:34.037,0:28:38.677
Schifrin had also been mentored by the jazz legend Dizzy Gillespie,

0:28:38.677,0:28:41.077
playing with him in New York in the '50s,

0:28:41.077,0:28:44.317
and he wanted to inject some of those jazz rhythms and beats

0:28:44.317,0:28:46.237
into the soundtrack for Bullitt.

0:28:50.477,0:28:52.837
Like Clint Eastwood's gunslinger,

0:28:52.837,0:28:56.517
Steve McQueen's detective Frank Bullitt rarely speaks,

0:28:56.517,0:28:59.357
but Schifrin's score is his voice.

0:28:59.357,0:29:01.437
Steve McQueen, he said,

0:29:01.437,0:29:03.677
"Bullitt is a very simple guy.

0:29:03.677,0:29:05.997
"I want you to write a simple theme."

0:29:10.357,0:29:12.797
McQueen's charisma is that of an ordinary man

0:29:12.797,0:29:14.917
required to do extraordinary things.

0:29:14.917,0:29:18.677
His almost wordless performance means that we are relying a lot

0:29:18.677,0:29:21.037
on how he looks for that charisma.

0:29:23.077,0:29:26.837
However, Lalo Schifrin's music gives his every moment,

0:29:26.837,0:29:29.597
no matter how mundane, a cool energy.

0:29:35.957,0:29:38.837
Bullitt's most famous sequence is ten minutes long

0:29:38.837,0:29:42.277
and contains no dialogue, but an awful lot of driving.

0:29:42.277,0:29:45.357
What makes it compelling is Lalo Schifrin's score,

0:29:45.357,0:29:48.517
which through a couple of very precise gear changes

0:29:48.517,0:29:50.517
turns a street game of cat and mouse

0:29:50.517,0:29:52.997
into something altogether more deadly.

0:29:56.277,0:29:58.237
Here, Schifrin's music focuses

0:29:58.237,0:30:00.517
on Bullitt's intense concentration

0:30:00.517,0:30:03.877
as he tails a pair of mobsters through the busy streets.

0:30:05.677,0:30:08.597
It is insistent but tightly controlled,

0:30:08.597,0:30:12.237
as we feel the pressure building up for the inevitable chase.

0:30:12.237,0:30:14.637
MUSIC PLAYS

0:30:17.957,0:30:21.237
So what will the score do next?

0:30:21.237,0:30:24.917
'The director, he asked me to write music for the chase.

0:30:24.917,0:30:26.757
'I said, "No."'

0:30:26.757,0:30:28.437
"Why not?"

0:30:28.437,0:30:31.037
"Because you are going to orchestrate the chase

0:30:31.037,0:30:34.357
"with sound effects, you don't need music."

0:30:34.357,0:30:37.757
'When Bullitt is in the car and changes gears,

0:30:37.757,0:30:41.557
'that's when the chase starts and I build music up to that point,

0:30:41.557,0:30:43.397
'and at that moment, stop.'

0:30:43.397,0:30:44.637
MUSIC STOPS

0:30:44.637,0:30:48.477
TYRES SQUEAL

0:30:48.477,0:30:53.397
CAR ENGINE RUMBLES

0:30:53.397,0:30:55.637
And yet people congratulate you

0:30:55.637,0:30:57.837
on your scoring of the chase, I believe.

0:30:57.837,0:31:00.757
Yes, they say, I love the music over the chase."

0:31:00.757,0:31:02.117
And there's no music.

0:31:04.277,0:31:07.077
Three years after Bullitt, Schifrin was invited

0:31:07.077,0:31:09.997
to score another, altogether more violent, thriller

0:31:09.997,0:31:11.397
set in San Francisco.

0:31:15.757,0:31:17.317
And with Dirty Harry,

0:31:17.317,0:31:21.557
director Don Siegel offered Schifrin considerable scope to experiment.

0:31:23.237,0:31:25.477
And he said, "I have a new film," and he said,

0:31:25.477,0:31:27.397
"I want you to write the music for it."

0:31:27.397,0:31:30.197
And he gave me complete freedom.

0:31:30.197,0:31:32.597
He didn't tell me what to do.

0:31:32.597,0:31:36.397
While the dramatic centre of Dirty Harry is Clint Eastwood,

0:31:36.397,0:31:40.317
much of Schifrin's music actually accompanies Scorpio,

0:31:40.317,0:31:42.837
the crazed serial killer he pursues.

0:31:49.597,0:31:53.317
I love, particularly, right from the very start in Dirty Harry,

0:31:53.317,0:31:56.277
the first thing we have is Scorpio up on the roof

0:31:56.277,0:31:58.037
- with his gun trained. [br]- Yeah.

0:31:58.037,0:32:01.477
And the music has a terrific power to it.

0:32:01.477,0:32:05.877
TENSE MUSIC PLAYS

0:32:05.877,0:32:08.837
Scorpio came with the idea of voices.

0:32:08.837,0:32:11.757
Very frenetic,

0:32:11.757,0:32:16.437
kind of...hysterical voices.

0:32:17.837,0:32:21.597
Schifrin uses unusual sounds, such as rubbing the rim of a glass,

0:32:21.597,0:32:24.837
to take us inside Scorpio's psychotic mind.

0:32:24.837,0:32:29.437
EERIE MUSIC PLAYS

0:32:34.477,0:32:36.557
There's also a sense that Scorpio

0:32:36.557,0:32:39.157
represents the end of the '60s dream,

0:32:39.157,0:32:41.917
a countercultural figure turned psychopath.

0:32:44.317,0:32:49.077
Schifrin captures that idea in this scene with acid-rock guitar riffs.

0:32:49.077,0:32:51.997
ROCK MUSIC PLAYS

0:32:56.077,0:33:01.717
In Bullitt, I have electric guitar playing jazz or jazz style.

0:33:01.717,0:33:06.717
In...in Dirty Harry, I used, for Scorpio,

0:33:06.717,0:33:11.197
electric guitars playing kind of acid rock

0:33:11.197,0:33:13.757
because I wanted to make a difference.

0:33:13.757,0:33:18.197
ROCK MUSIC PLAYS

0:33:18.197,0:33:20.077
Again, it's unpredictable.

0:33:20.077,0:33:22.557
Yeah, and menacing, a little bit menacing.

0:33:29.797,0:33:33.117
Schifrin had taken the popular-music influenced score

0:33:33.117,0:33:35.037
to a new level of sophistication.

0:33:36.437,0:33:38.997
But he was still working in the classic mould

0:33:38.997,0:33:41.597
of a film composer trusted by the director

0:33:41.597,0:33:44.677
to take charge of how a film sounded.

0:33:44.677,0:33:49.517
But by the 1970s, a new generation of directors was coming into cinema

0:33:49.517,0:33:52.797
who'd grown up with pop music as the soundtrack to their lives

0:33:52.797,0:33:57.117
and wanted to reflect this far more directly in their films.

0:34:03.197,0:34:05.877
In 1973, the greatest of these directors

0:34:05.877,0:34:08.556
began a journey back into his own youth.

0:34:08.556,0:34:11.476
Here, on the streets of New York's Little Italy.

0:34:14.277,0:34:19.237
Martin Scorsese's Mean Streets was a film about the New York Mafia.

0:34:19.237,0:34:21.797
It followed in the wake of The Godfather,

0:34:21.797,0:34:23.797
but concerned small-time criminals

0:34:23.797,0:34:25.996
and drew extensively on

0:34:25.996,0:34:27.637
Scorsese's own memories.

0:34:27.637,0:34:29.877
Scorsese made it on a small budget

0:34:29.877,0:34:33.117
raised independently of the big studios.

0:34:33.117,0:34:35.677
But it meant he had creative control

0:34:35.677,0:34:39.317
and he made the key decision to leave out the composer entirely

0:34:39.317,0:34:43.157
drawing the film soundtrack from his own record collection.

0:34:43.157,0:34:45.437
'It wasn't even a question.'

0:34:45.437,0:34:48.717
I could never have a composer, like Bernard Herrmann or Elmer Bernstein

0:34:48.717,0:34:51.556
or...that was out of the question.

0:34:51.556,0:34:53.917
You know, I knew I was going to make films somehow,

0:34:53.917,0:34:57.157
but when I did, the soundtrack's up to me.

0:34:57.157,0:35:00.157
And the music I knew and the music that scored my life,

0:35:00.157,0:35:01.997
and still does to a certain extent,

0:35:01.997,0:35:04.637
is the music I heard while growing up.

0:35:04.637,0:35:07.717
So music was very, very much part of a expression

0:35:07.717,0:35:10.197
of who you are and how you feel.

0:35:18.037,0:35:19.397
You know, in reality,

0:35:19.397,0:35:22.637
Mean Streets really takes place between '61 and '63,

0:35:22.637,0:35:25.397
even though we shot it in '72.

0:35:25.397,0:35:28.877
There was Phil Spector and there was the Wall Of Sound.

0:35:28.877,0:35:31.437
And that's the sound I hear in my head.

0:35:31.437,0:35:33.877
And that was the music that propelled

0:35:33.877,0:35:35.717
all the action in the story

0:35:35.717,0:35:38.437
and because that's what was playing in the middle of the night

0:35:38.437,0:35:40.397
in those after-hour joints that we were in.

0:35:40.397,0:35:42.637
Cos there were jukeboxes in these places, you see.

0:35:42.637,0:35:45.877
And especially in the summertime, that music would just echo through.

0:35:45.877,0:35:47.677
And when you're living in a tenement area,

0:35:47.677,0:35:51.037
everybody's out and everybody knows what everybody else is doing.

0:35:52.277,0:35:54.077
Right from the pre-title sequence,

0:35:54.077,0:35:56.437
Scorsese used a record he loved

0:35:56.437,0:36:00.677
to accompany the lead character, Charlie, played by Harvey Keitel.

0:36:00.677,0:36:03.157
'I imagined the opening of the picture,

0:36:03.157,0:36:05.997
'he looks at himself in the mirror, wonders who the hell he is'

0:36:05.997,0:36:08.237
and then, he puts his head back on the pillow

0:36:08.237,0:36:11.077
and as we do that, we cut three times into the beat.

0:36:11.077,0:36:14.837
So that was all worked out in my head way, way in advance.

0:36:16.357,0:36:19.277
MUSIC: "Be My Baby," by The Ronettes

0:36:22.597,0:36:24.717
'The first beats of Be My Baby,

0:36:24.717,0:36:27.157
'they just emerged'

0:36:27.157,0:36:29.677
and they're with me all the time.

0:36:30.677,0:36:32.957
So it's...even when I'm on set, it's always...

0:36:32.957,0:36:35.597
HE TAPS THE SONG'S RHYTHM

0:36:35.597,0:36:38.557
And they know, everybody looks at me, "Yeah, OK?"

0:36:38.557,0:36:40.917
And it's just, it's just what I do.

0:36:40.917,0:36:43.437
It's part of, it's become part of my DNA.

0:36:44.637,0:36:47.757
And then, the thing was to go to home movies.

0:36:49.437,0:36:52.397
And then, intercut with actual eight-millimetre films

0:36:52.397,0:36:57.637
that my brother took of his first son's christening, that was 1965.

0:36:57.637,0:37:01.317
- # ..Say you'll be my darling [br]- Be my, be my baby

0:37:01.317,0:37:04.277
# Be my baby now

0:37:04.277,0:37:06.277
# Whoa whoa whoa whoa... #

0:37:06.277,0:37:09.397
Mean Streets tells how Charlie's attempts

0:37:09.397,0:37:11.037
to get ahead in the local mafia

0:37:11.037,0:37:12.757
are complicated by Catholic guilt

0:37:12.757,0:37:16.277
and his loyalty to his irresponsible friend Johnny Boy,

0:37:16.277,0:37:18.197
played by Robert De Niro.

0:37:20.517,0:37:22.477
Scorsese carefully makes us wait

0:37:22.477,0:37:25.757
before showing us the two friends together.

0:37:25.757,0:37:27.157
Girls, after you.

0:37:27.157,0:37:30.997
'All right, OK, thanks a lot, Lord, thanks a lot for opening my eyes...'

0:37:30.997,0:37:34.197
Charlie is waiting at the bar for Johnny Boy,

0:37:34.197,0:37:38.077
what could Scorsese possibly do with such an ordinary scene?

0:37:38.077,0:37:39.797
Well, what he does is to pull off

0:37:39.797,0:37:43.517
possibly the greatest musical cue of the whole movie.

0:37:43.517,0:37:47.797
MUSIC: "Jumpin' Jack Flash", by The Rolling Stones

0:37:47.797,0:37:49.717
The music leaps into the foreground

0:37:49.717,0:37:53.237
and, suddenly, Johnny Boy IS Jumpin' Jack Flash

0:37:53.237,0:37:55.397
and he's a gas, gas, gas.

0:37:55.397,0:37:58.077
And we know Charlie can't trust him.

0:37:58.077,0:38:02.517
Look at Charlie's face - he knows Johnny Boy is going to be trouble.

0:38:02.517,0:38:06.837
SONG CONTINUES

0:38:09.077,0:38:13.877
It's a world in which there is a conformity and a tradition,

0:38:13.877,0:38:15.997
a tradition which is underworld.

0:38:15.997,0:38:19.277
Johnny is anarchy

0:38:19.277,0:38:21.477
and is Jumpin' Jack Flash.

0:38:23.717,0:38:25.837
And I knew it had to be in slow motion,

0:38:25.837,0:38:27.597
but what we found when I cut to Harvey

0:38:27.597,0:38:31.157
and when he put that glass of liquor down, it just worked beautifully

0:38:31.157,0:38:33.677
with the music and he moves back to the edge of the bar

0:38:33.677,0:38:36.157
and there's a woman sitting there, I don't know who she is,

0:38:36.157,0:38:37.677
but she looks like a ghost.

0:38:37.677,0:38:41.157
SONG CONTINUES

0:38:41.157,0:38:42.837
I guess, basically, you know,

0:38:42.837,0:38:44.877
that was the movie, that was the one,

0:38:44.877,0:38:46.237
I put it all in there.

0:38:47.357,0:38:52.317
And if anyone was ever to wonder what that life was like or...

0:38:53.717,0:38:57.717
..or what that world sounded like and felt like, you know,

0:38:57.717,0:39:00.237
they can check out that picture.

0:39:02.917,0:39:06.037
Scorsese had proved that a serious, dramatic film

0:39:06.037,0:39:08.757
could cut out the composer altogether.

0:39:10.597,0:39:14.637
That same year another of this new wave of young directors,

0:39:14.637,0:39:18.837
George Lucas, explored his boyhood experiences in American Graffiti

0:39:18.837,0:39:20.717
to a soundtrack consisting entirely

0:39:20.717,0:39:24.197
of '50s and early '60s pop classics.

0:39:27.997,0:39:31.637
But through the '70s, pop music itself was changing,

0:39:31.637,0:39:34.397
evolving new styles and genres.

0:39:34.397,0:39:37.357
For film producers canny enough to ride this wave,

0:39:37.357,0:39:39.477
there was serious money to be made.

0:39:40.757,0:39:44.717
In 1977, a film was released that was shot here, in Brooklyn,

0:39:44.717,0:39:47.837
and used the latest pop music to tell us about the dreams

0:39:47.837,0:39:49.757
and hopes of its characters.

0:39:49.757,0:39:52.317
Not a back catalogue of '50s and '60s hits,

0:39:52.317,0:39:54.637
but a phenomenon that was sweeping the country

0:39:54.637,0:39:57.557
and would burn very brightly, if a little briefly.

0:39:57.557,0:40:00.797
Ladies and gentlemen, I give you disco.

0:40:02.437,0:40:06.357
MUSIC: "Night Fever", by the Bee Gees

0:40:06.357,0:40:10.677
The producers of Saturday Night Fever wanted to build its soundtrack

0:40:10.677,0:40:14.757
around six songs that had already been recorded by the Bee Gees.

0:40:18.477,0:40:21.557
To provide additional tracks and incidental music,

0:40:21.557,0:40:23.317
David Shire was called in.

0:40:25.277,0:40:27.157
With a theatre and jazz background,

0:40:27.157,0:40:29.357
Shire had written scores for key '70s films

0:40:29.357,0:40:31.797
like All The President's Men.

0:40:31.797,0:40:35.557
He now had to find a way of working within the disco style.

0:40:36.597,0:40:38.437
I guess that's what I liked about disco.

0:40:38.437,0:40:40.877
You could take anything, you could take Beethoven,

0:40:40.877,0:40:44.477
you could take Rimsky-Korsakov, you could take Mussorgsky,

0:40:44.477,0:40:49.357
and just put 120 beats-per-minute to it and a rhythm section,

0:40:49.357,0:40:51.837
and it would kind of work.

0:40:53.157,0:40:54.717
For this sequence,

0:40:54.717,0:40:57.757
Shire adapted a classical piece Night on a Bare Mountain

0:40:57.757,0:41:01.357
by the 19th-century Russian composer Modest Mussorgsky.

0:41:01.357,0:41:07.117
MUSIC: "Night on a Bare Mountain" by Mussorgsky, adaptation David Shire

0:41:12.997,0:41:16.757
Shire gives it a disco twist, which enhances the tune's

0:41:16.757,0:41:19.877
and the scene's dizzying, dangerous feel.

0:41:19.877,0:41:23.277
MAN SHOUTING

0:41:26.717,0:41:33.317
And it turned out to be the most lucrative film job I've ever had.

0:41:33.317,0:41:39.117
The least composing but the most rewarding, financially.

0:41:40.237,0:41:43.957
The Saturday Night Fever soundtrack sold 15 million copies

0:41:43.957,0:41:46.877
and spent six months at number one.

0:41:46.877,0:41:50.997
The film itself earned more than 90m at the US Box Office,

0:41:50.997,0:41:53.557
a huge sum for the time.

0:41:53.557,0:41:56.717
Hollywood studios would now seek to exploit this cash cow,

0:41:56.717,0:42:00.477
with an eye firmly on the commercial rather than the artistic

0:42:00.477,0:42:02.237
possibilities of pop songs.

0:42:03.797,0:42:06.917
In the 1980s, with American cinema ticket sales topping

0:42:06.917,0:42:08.037
a billion-a-year,

0:42:08.037,0:42:11.877
Hollywood and the pop industry became increasingly co-dependent.

0:42:13.037,0:42:16.397
Big budget movies like Top Gun were indiscriminately filled with

0:42:16.397,0:42:17.477
pop and rock tracks.

0:42:19.717,0:42:23.437
Video were used to market movies on MTV,

0:42:23.437,0:42:26.477
while the films were used to promote the artists themselves.

0:42:29.077,0:42:31.477
MUSIC: "Take My Breath Away", by Berlin

0:42:33.437,0:42:35.717
Against this corporate background,

0:42:35.717,0:42:39.797
it would take a director of singular vision to make popular music

0:42:39.797,0:42:41.917
mean more than the sum of its lyrics.

0:42:44.397,0:42:49.637
MUSIC: "Blue Velvet" by Bobby Vinton

0:42:49.637,0:42:54.357
Right from exaggeratedly idyllic opening of Blue Velvet,

0:42:54.357,0:42:59.157
David Lynch uses '50s pop songs to create a dream-like atmosphere.

0:43:04.877,0:43:08.437
For Lynch, classic pop is like necromancy,

0:43:08.437,0:43:10.517
bringing to life a world of strange,

0:43:10.517,0:43:14.077
chilling encounters between people on the edge, as in this scene

0:43:14.077,0:43:18.237
where the title song is performed by the film's star Isabella Rossellini.

0:43:21.717,0:43:27.117
# Blue velvet... #

0:43:29.077,0:43:32.717
Here, Lynch's sinister alchemy twists a seemingly innocent

0:43:32.717,0:43:36.317
love song to highlight the growing obsession of the film's

0:43:36.317,0:43:39.477
protagonist Geoffrey with Rossellini's character.

0:43:41.837,0:43:44.717
# ..was the night from the stars... #

0:43:46.597,0:43:49.117
To help Rossellini with her vocal performance,

0:43:49.117,0:43:54.117
the producers called songwriter and composer Angelo Badalamenti.

0:43:54.117,0:43:55.837
And I meet with Isabella.

0:43:55.837,0:43:58.237
We work on the song Blue Velvet.

0:43:58.237,0:44:00.517
We then record it.

0:44:00.517,0:44:02.717
David puts the earphones on,

0:44:02.717,0:44:05.037
he listens to the whole thing,

0:44:05.037,0:44:07.357
takes the earphones off and he says,

0:44:07.357,0:44:09.557
"This is peachy keen.

0:44:09.557,0:44:11.117
"That's the ticket."

0:44:13.117,0:44:15.317
But that wasn't the end of it.

0:44:15.317,0:44:19.317
Lynch wanted to use a track by the band This Mortal Coil in the film,

0:44:19.317,0:44:22.837
but the producers couldn't afford to licence it.

0:44:22.837,0:44:27.797
Instead, they suggested Badalamenti should write an original song.

0:44:27.797,0:44:31.597
So I said, "OK, but I need a lyric. I'm not a lyric writer.

0:44:31.597,0:44:36.437
"Why don't you tell your director to write a lyric?"

0:44:36.437,0:44:39.237
And I'm recording Isabella now on Blue Velvet,

0:44:39.237,0:44:42.157
and she comes in with this little piece of paper,

0:44:42.157,0:44:45.437
and on it, on the top, says, "Mysteries of Love."

0:44:47.437,0:44:50.117
And I'm reading it, "And sometimes the wind blows,

0:44:50.117,0:44:53.277
"and you and I float in the darkness and kiss for ever..."

0:44:53.277,0:44:54.317
blah, blah, blah.

0:44:55.637,0:44:57.877
I'm thinking, "This is awful."

0:44:57.877,0:44:59.837
So, what do I do? I call David and I say,

0:44:59.837,0:45:02.837
"David, I'm just curious. What kind of music do you hear for it?"

0:45:02.837,0:45:08.277
"Oh, Angelo, just let it float. Make it like the tides of the ocean.

0:45:08.277,0:45:11.517
"Make it kind of cosmic and..." No clue, right?

0:45:12.557,0:45:15.237
I take the lyric, I put it on the piano...

0:45:15.237,0:45:18.437
- I'll play it for you, if you like. [br]- Sure. Please.

0:45:18.437,0:45:22.557
# Sometimes a wind blows

0:45:25.717,0:45:29.477
# And you and I...

0:45:34.197,0:45:38.957
- WOMAN'S VOICE: [br]- # ..float... #

0:45:40.237,0:45:45.477
In this scene, the song Mysteries of Love epitomises the purity of love,

0:45:45.477,0:45:49.157
not the morbid desire Geoffrey felt for Rossellini's character

0:45:49.157,0:45:50.597
when Blue Velvet played.

0:45:53.517,0:45:56.397
The lyric forced me to...

0:45:56.397,0:45:58.077
Even David's description...

0:45:58.077,0:46:02.397
Just something floating and no real times,

0:46:02.397,0:46:05.237
no rhymes, no hooks.

0:46:05.237,0:46:07.957
# ..And the mysteries of love... #

0:46:10.117,0:46:13.797
Lynch had started out wanting to include one pop track in his film

0:46:13.797,0:46:17.997
and ended up co-writing a brand-new one but, more importantly,

0:46:17.997,0:46:20.317
he'd found himself a musical soul mate.

0:46:20.317,0:46:22.877
Angelo Badalamenti has gone on to score pretty much

0:46:22.877,0:46:24.797
all of Lynch's films since

0:46:24.797,0:46:27.197
and I think there's a reason for that.

0:46:27.197,0:46:32.557
His music is the sound of Lynch's world with all its paradoxes.

0:46:32.557,0:46:35.957
It's cold but, at the same time, it's very warm.

0:46:35.957,0:46:38.757
It's nostalgic and yet it's very, very modern.

0:46:38.757,0:46:40.197
And, to be frank, for me,

0:46:40.197,0:46:44.837
David Lynch's films couldn't work without Badalamenti's music.

0:46:46.757,0:46:52.357
One day in 1989, the pair sat down at Badalamenti's piano

0:46:52.357,0:46:53.877
and, in a single take,

0:46:53.877,0:46:57.317
wrote the theme for a groundbreaking new television series.

0:46:59.237,0:47:02.837
David comes in. "Angelo, now we're really pals."

0:47:02.837,0:47:07.877
And he says, "We're in a dark wood."

0:47:07.877,0:47:09.437
And I'm going like...

0:47:09.437,0:47:11.117
PLAYS MOODY PIANO MUSIC

0:47:11.117,0:47:15.197
"No, Angelo, those are beautiful notes but can you do them slower?"

0:47:15.197,0:47:16.277
OK.

0:47:16.277,0:47:17.917
PLAYS PIANO SLOWER

0:47:20.117,0:47:22.357
"No, no, Angelo, slower."

0:47:22.357,0:47:24.797
I said, "David, if we do it any slower,

0:47:24.797,0:47:26.877
"I'm going to play in reverse."

0:47:31.117,0:47:36.717
"OK, Angelo, now there's a girl named Laura Palmer...

0:47:36.717,0:47:40.037
"She's a very troubled teenager,

0:47:40.037,0:47:43.037
"and she's in the dark woods and she's coming out

0:47:43.037,0:47:44.517
"behind some trees.

0:47:45.637,0:47:47.437
"She's very beautiful, too.

0:47:48.757,0:47:50.837
"Give me something that's her."

0:47:50.837,0:47:54.517
SAD PIANO MUSIC PLAYS

0:48:00.917,0:48:02.117
"That's it, Angelo.

0:48:02.117,0:48:06.437
"Now let it build, cos she's coming closer and she's so troubled.

0:48:10.157,0:48:15.357
"She's got tears in her eyes. Angelo, it's so sad. Reach a climax.

0:48:18.037,0:48:20.037
"That's it. Just keep it going.

0:48:25.637,0:48:29.997
"Beautiful. Beautiful. Now, start coming down

0:48:29.997,0:48:35.517
"but fall slowly. Come slowly, slowly down, down.

0:48:36.797,0:48:38.797
"That's it.

0:48:38.797,0:48:40.197
"That's it.

0:48:40.197,0:48:42.277
"Quiet.

0:48:42.277,0:48:45.517
"Now, Angelo, go back into the dark woods...

0:48:48.437,0:48:51.037
"..and stay there.

0:48:51.037,0:48:53.117
"There's an owl in the background."

0:48:56.437,0:49:00.237
He said, "Angelo, you just wrote Twin Peaks."

0:49:06.037,0:49:08.877
From a starting point in pop, Badalamenti

0:49:08.877,0:49:12.077
and Lynch formed a fertile partnership of director

0:49:12.077,0:49:15.677
and composer almost unparalleled in contemporary cinema.

0:49:18.837,0:49:22.357
But could a truly creative director ever insist, in effect,

0:49:22.357,0:49:25.557
that he wouldn't touch a composer with a barge pole?

0:49:27.157,0:49:30.877
As a composer, I rather took against Quentin Tarantino,

0:49:30.877,0:49:33.037
gifted filmmaker though he is,

0:49:33.037,0:49:35.717
when he reportedly said that he doesn't use composers

0:49:35.717,0:49:38.437
because he wouldn't trust one with his movies.

0:49:38.437,0:49:41.797
But then, maybe it's my prejudices I should be challenging.

0:49:41.797,0:49:43.557
Maybe he's right.

0:49:43.557,0:49:46.237
Let's see what he gains by not using a composer.

0:49:48.317,0:49:52.637
Tarantino's 1992 debut Reservoir Dogs features

0:49:52.637,0:49:55.157
a soundtrack solely consisting of old pop

0:49:55.157,0:49:58.757
and rock songs that the characters hear on a local radio station.

0:50:00.637,0:50:04.317
(RADIO PRESENTER) ..super sounds of the '70s continues.

0:50:04.317,0:50:06.637
This embeds the music in the film

0:50:06.637,0:50:09.437
and enables the characters to interact with it,

0:50:09.437,0:50:11.957
as in this notorious torture scene.

0:50:13.037,0:50:19.997
MUSIC: "Stuck In The Middle With You" by Stealers Wheel

0:50:23.237,0:50:25.997
By playing the catchy Stuck In The Middle With You,

0:50:25.997,0:50:28.197
written by Gerry Rafferty and Joe Egan,

0:50:28.197,0:50:33.157
Tarantino lulls the audience into being charmed by Mr Blonde.

0:50:33.157,0:50:37.197
Singing along to the song despite the feeling of imminent danger.

0:50:37.197,0:50:39.157
# ..Stuck in the middle with you

0:50:39.157,0:50:41.957
# Yes I'm stuck in the middle with you... #

0:50:41.957,0:50:45.397
Then, when the violence hits, it's all the more shocking.

0:50:46.957,0:50:50.397
The violence of Reservoir Dogs divided the audiences and critics,

0:50:50.397,0:50:52.237
but its soundtrack was hailed as

0:50:52.237,0:50:55.157
one of the finest uses of pop music in a generation.

0:50:57.197,0:51:00.317
So, how does Tarantino get round the tricky issue of being

0:51:00.317,0:51:02.717
allowed to use someone's music in this way?

0:51:04.037,0:51:07.077
Enter music supervisor Karyn Rachtman.

0:51:09.277,0:51:13.037
What does a music supervisor do on a movie?

0:51:13.037,0:51:17.117
Your job can be as basic as licensing every track,

0:51:17.117,0:51:18.717
and just handling the negotiations

0:51:18.717,0:51:20.917
and making sure that you take care of all the rights.

0:51:20.917,0:51:23.357
What happens if you have to then go and say,

0:51:23.357,0:51:25.477
"We may not be able to clear the rights"?

0:51:25.477,0:51:26.757
It happens all the time.

0:51:26.757,0:51:29.117
85% of the movies I've worked on,

0:51:29.117,0:51:31.677
you do not get every song you want.

0:51:31.677,0:51:33.037
During Reservoir Dogs,

0:51:33.037,0:51:36.997
Quentin, when he wrote that script, he had written in the songs.

0:51:36.997,0:51:40.677
Especially with the scene Stuck In The Middle With You,

0:51:40.677,0:51:41.917
that was being shot to.

0:51:41.917,0:51:45.517
So, he has a music supervisor on the film who told him,

0:51:45.517,0:51:48.917
"You can't use any '70s songs." Quentin was devastated.

0:51:48.917,0:51:52.277
And I said, "I will get you Stuck In The Middle With You."

0:51:57.517,0:52:00.237
And I had to get on the phone with Joe Egan

0:52:00.237,0:52:02.317
because I needed him to call the publisher.

0:52:02.317,0:52:06.277
He didn't want to do it and I had to reference things like

0:52:06.277,0:52:08.597
Singing In The Rain used in Clockwork Orange,

0:52:08.597,0:52:10.797
and how we're paying homage to his song,

0:52:10.797,0:52:14.317
even though somebody's getting their ear cut off by a sick freak.

0:52:14.317,0:52:16.237
You have to tell him the scene, I assume.

0:52:16.237,0:52:18.237
You have to tell him the scene. Yeah, of course.

0:52:18.237,0:52:20.157
After I got him Stuck In The Middle With You,

0:52:20.157,0:52:23.237
Quentin said, "What can I do for you? I appreciate it so much."

0:52:23.237,0:52:26.397
And I said, "You can fire your other music supervisor."

0:52:27.437,0:52:30.357
Karyn Rachtman worked with Tarantino on his follow-up

0:52:30.357,0:52:32.837
to Reservoir Dogs, Pulp Fiction,

0:52:32.837,0:52:36.397
which again featured characters interacting with songs.

0:52:36.397,0:52:38.477
But he didn't think he was going to put a song

0:52:38.477,0:52:40.437
when Bruce Willis was driving in the car

0:52:40.437,0:52:42.077
and he said, "Get me a song."

0:52:44.717,0:52:47.437
# Flowers on the wall... #

0:52:47.437,0:52:49.877
Flowers On The Wall ended up there.

0:52:49.877,0:52:51.757
I just guess I was picturing Bruce Willis

0:52:51.757,0:52:53.957
singing along to something funny.

0:52:53.957,0:52:57.757
With Quentin's movies, the music sometimes let's you go...

0:52:57.757,0:53:00.797
EXHALES DEEPLY

0:53:04.077,0:53:06.397
But this fun musical sing along is just

0:53:06.397,0:53:09.557
a moment of respite before the violence starts again.

0:53:11.157,0:53:13.997
Motherfucker.

0:53:13.997,0:53:16.197
TYRES SCREECH

0:53:20.437,0:53:24.477
Tarantino's more recent films show that his drive to feature

0:53:24.477,0:53:28.317
the music he loves doesn't just stop with pop and rock.

0:53:28.317,0:53:30.917
He might not want to employ film composers,

0:53:30.917,0:53:33.917
but he seems to own plenty of their soundtracks.

0:53:33.917,0:53:36.197
Listen to this scene from Kill Bill.

0:53:36.197,0:53:39.757
WOMAN WHISTLES

0:53:39.757,0:53:41.917
The tune Daryl Hannah is whistling was

0:53:41.917,0:53:46.357
written by Bernard Herrmann for the 1968 film Twisted Nerve.

0:53:47.717,0:53:49.557
And remember this one?

0:53:49.557,0:53:51.717
SPAGHETTI WESTERN MUSIC PLAYS

0:53:54.557,0:53:57.077
Ennio Morricone's music for the climactic

0:53:57.077,0:53:59.237
shoot-out in A Fistful Of Dollars.

0:54:03.437,0:54:06.637
Tarantino, a master of utilising the pop song,

0:54:06.637,0:54:08.597
uses composers all right,

0:54:08.597,0:54:11.397
but only when their music is already iconic,

0:54:11.397,0:54:16.117
revealing the debt even he owes to the history of the movie soundtrack.

0:54:18.557,0:54:21.237
When it comes to respecting tradition,

0:54:21.237,0:54:24.837
one cinema franchise more than any other requires its composed

0:54:24.837,0:54:26.837
to acknowledge its musical heritage.

0:54:29.677,0:54:33.517
For Casino Royale, composer David Arnold faced the challenge

0:54:33.517,0:54:37.397
rebooting the legacy of John Barry for a contemporary audience,

0:54:37.397,0:54:39.837
20 Bond movies on from Dr No.

0:54:41.957,0:54:45.117
It was kind of classic back to sort of Barry,

0:54:45.117,0:54:47.517
back to basics, the spirit of it.

0:54:47.517,0:54:50.677
The wailing brass, the seductive strings,

0:54:50.677,0:54:53.037
but knowing it's a different world.

0:54:53.037,0:54:57.157
Casino Royale would be the first Bond movie to star Daniel Craig.

0:54:58.477,0:55:02.317
Arnold's score had to reflect this tougher and more physical 007.

0:55:09.517,0:55:14.517
The music was modelled on Daniel's movement and muscularity.

0:55:14.517,0:55:16.557
His attitude, the way he looked...

0:55:16.557,0:55:19.117
So, you're actually scoring body language...

0:55:19.117,0:55:21.957
Bond's not one for saying an awful lot.

0:55:24.997,0:55:27.757
The music is accompanying him moving.

0:55:31.757,0:55:35.037
But Casino Royale is also an origin tale,

0:55:35.037,0:55:38.957
explaining how Bond becomes a fully-fledged super spy.

0:55:38.957,0:55:41.757
This presented Arnold with an interesting opportunity to

0:55:41.757,0:55:44.157
work with a classic Bond theme.

0:55:44.157,0:55:47.197
He deliberately didn't play the Bond theme during that

0:55:47.197,0:55:50.557
film in its entirety until the very end of the picture.

0:55:50.557,0:55:51.837
Erm...

0:55:51.837,0:55:56.477
because it felt like he wasn't that character yet.

0:55:56.477,0:55:58.997
When he wins the DB5 in the game of cards,

0:55:58.997,0:56:01.397
the first time you kind of hint at that...

0:56:01.397,0:56:02.677
HE HUMS GENTLY

0:56:09.997,0:56:11.997
The first time he puts the dinner jacket on.

0:56:11.997,0:56:13.997
He gets the tuxedo and he straighten his tie,

0:56:13.997,0:56:16.317
and he looks at himself in the mirror and you think,

0:56:16.317,0:56:17.837
"OK, that's a bit closer."

0:56:21.917,0:56:23.317
SHE LAUGHS

0:56:26.237,0:56:28.157
And then ultimately, at the end of the film,

0:56:28.157,0:56:30.197
when he says, "The name's Bond - James Bond."

0:56:30.197,0:56:32.197
There you are. Hello.

0:56:35.237,0:56:38.517
The name's Bond - James Bond.

0:56:41.397,0:56:44.877
It's only when these four seconds of black appear that we hear

0:56:44.877,0:56:48.837
the Bond theme in full, just in time for the credits to roll.

0:56:48.837,0:56:51.557
BOND THEME PLAYS

0:56:51.557,0:56:52.797
David's Arnold's music

0:56:52.797,0:56:55.477
helped give the Bond franchise a new lease of life.

0:57:00.357,0:57:04.477
And, in, 2013, Skyfall, performed and co-written by Adele,

0:57:04.477,0:57:07.557
became the first Bond song to win an Academy Award.

0:57:09.917,0:57:12.757
# Let the sky fall

0:57:12.757,0:57:15.757
# When it crumbles

0:57:15.757,0:57:17.437
# We will stand tall... #

0:57:17.437,0:57:19.997
The song carries its heritage proudly.

0:57:19.997,0:57:21.397
The powerful chorus...

0:57:23.237,0:57:25.437
# ..Let the sky fall

0:57:25.437,0:57:28.157
# When it crumbles

0:57:28.157,0:57:30.557
# We will stand tall... #

0:57:32.357,0:57:35.917
The classic Bond chord progression it incorporates...

0:57:35.917,0:57:39.397
# ..That sky falls

0:57:40.717,0:57:43.757
# That sky falls... #

0:57:43.757,0:57:47.197
And, crucially, the careful casting of the performer.

0:57:47.197,0:57:52.077
Following a tradition that began with Shirley Bassey and Goldfinger.

0:57:52.077,0:57:57.917
I don't think you would necessarily expect to see Adele in a scene

0:57:57.917,0:58:01.837
but the sound of her voice says, "This could belong in Bond's world."

0:58:06.117,0:58:08.517
Pop may once have been a cinematic upstart,

0:58:08.517,0:58:12.557
but now it's so well established it can draw on its own tradition.

0:58:12.557,0:58:15.237
Today's audience enjoys films that can move seamlessly

0:58:15.237,0:58:18.477
between the orchestral score and the energy of popular music,

0:58:18.477,0:58:21.717
making soundtracks more diverse, forceful and relevant.

0:58:22.957,0:58:25.757
This has become the modern sound of cinema.

0:58:27.917,0:58:31.277
Next time, the film score goes electronic.

0:58:31.277,0:58:34.557
How technology pushed the boundaries of the soundtrack.

0:58:39.757,0:58:44.517
MUSIC: "Skyfall" by Adele, instrumental arrangement

0:58:57.997,0:59:01.037
Subtitles By Red Bee Media Ltd