1 00:00:03,757 --> 00:00:08,317 For much of the 20th century, our idea of cinema music was classical, 2 00:00:08,317 --> 00:00:11,517 symphonic, stately even. 3 00:00:11,517 --> 00:00:14,117 MUSIC: "Jumpin' Jack Flash" by The Rolling Stones 4 00:00:14,117 --> 00:00:16,717 But might this also be film music? 5 00:00:16,717 --> 00:00:20,397 A pop hit by The Rolling Stones turned up to full volume, 6 00:00:20,397 --> 00:00:23,677 - driving the action. - # Watch it! # 7 00:00:25,077 --> 00:00:28,197 MARTIN SCORSESE: 'The music I knew, and the music that scored my life, 8 00:00:28,197 --> 00:00:29,877 'is the music I heard growing up. 9 00:00:29,877 --> 00:00:32,277 'And the music that was around me at the time.' 10 00:00:32,277 --> 00:00:37,277 And that was the music that propelled all the action in the story. 11 00:00:37,277 --> 00:00:41,757 Mean Streets was the most extreme expression yet of how 12 00:00:41,757 --> 00:00:45,277 popular music had pushed aside the symphonic tradition 13 00:00:45,277 --> 00:00:47,277 to take hold of the film score. 14 00:00:47,277 --> 00:00:51,277 As new musical genres like rock, pop and disco were born, 15 00:00:51,277 --> 00:00:53,397 they reverberated throughout cinema. 16 00:00:53,397 --> 00:00:56,797 MUSIC: "A Hard Day's Night" by The Beatles 17 00:00:56,797 --> 00:01:00,117 Popular music revitalised the soundtrack, 18 00:01:00,117 --> 00:01:02,157 and indeed the movies themselves. 19 00:01:02,157 --> 00:01:06,277 More distinctive, simpler, more direct, more memorable. 20 00:01:06,277 --> 00:01:09,317 It was music that appealed to a younger audience. 21 00:01:09,317 --> 00:01:11,357 And to a new generation of composers 22 00:01:11,357 --> 00:01:14,437 and directors who knew how to use it. 23 00:01:14,437 --> 00:01:18,557 These composers pushed the film score in fresh, exciting directions. 24 00:01:19,677 --> 00:01:22,437 Composers like John Barry. 25 00:01:22,437 --> 00:01:26,317 MUSIC: "James Bond Theme" by John Barry Orchestra 26 00:01:28,357 --> 00:01:33,517 Those screaming horns are giving us a tremendous sense of power and sex. 27 00:01:35,437 --> 00:01:37,717 And Lalo Schifrin, 28 00:01:37,717 --> 00:01:42,837 whose cool jazz beats gave an inner voice to iconic movie stars. 29 00:01:42,837 --> 00:01:45,997 MUSIC: "Bullitt Theme" by Lalo Schifrin 30 00:01:45,997 --> 00:01:48,157 'Steve McQueen, he said,' 31 00:01:48,157 --> 00:01:50,477 "Bullitt is a very simple guy. 32 00:01:50,477 --> 00:01:52,557 "I want you to write a simple theme." 33 00:01:56,237 --> 00:02:00,757 It was pop arranger Ennio Morricone who orchestrated this. 34 00:02:00,757 --> 00:02:03,637 One of the greatest gunfights in cinema. 35 00:02:07,997 --> 00:02:10,477 Here the characters are choreographed to the music 36 00:02:10,477 --> 00:02:12,197 in an almost operatic way. 37 00:02:13,837 --> 00:02:16,677 But pop has also been used for commercial 38 00:02:16,677 --> 00:02:18,677 rather than creative reasons. 39 00:02:18,677 --> 00:02:21,197 To help fund and promote big budget movies. 40 00:02:21,197 --> 00:02:25,157 MUSIC: "Take My Breath Away" by Berlin 41 00:02:25,157 --> 00:02:28,757 MUSIC: "Misirlou" by Dick Dale 42 00:02:28,757 --> 00:02:31,357 And when the most influential director of his generation 43 00:02:31,357 --> 00:02:34,717 decides he can get rid of original scores altogether, 44 00:02:34,717 --> 00:02:37,757 has the use of popular music in film gone too far? 45 00:02:39,757 --> 00:02:42,237 Is it really possible to cut out the composer 46 00:02:42,237 --> 00:02:44,677 and still make a musically great film? 47 00:02:56,237 --> 00:02:59,357 JAZZ MUSIC PLAYS 48 00:03:01,997 --> 00:03:04,357 In the late 1940s, 49 00:03:04,357 --> 00:03:08,917 cities across America were buzzing with a new style of jazz. 50 00:03:08,917 --> 00:03:15,117 More exciting, less predictable, more like the sound of real life. 51 00:03:15,117 --> 00:03:18,037 But it was far removed from the discipline of 52 00:03:18,037 --> 00:03:20,157 the traditional film score. 53 00:03:20,157 --> 00:03:23,717 And Hollywood cinema wasn't ready for it. 54 00:03:23,717 --> 00:03:29,237 Until a film came along in 1951 which would be the perfect vehicle. 55 00:03:30,877 --> 00:03:35,117 A Streetcar Named Desire boasted the first all-jazz score. 56 00:03:35,117 --> 00:03:38,717 And it's one of those movies I can remember seeing for the first time. 57 00:03:38,717 --> 00:03:42,717 I was completely blown away by the jazz - the immediacy of it. 58 00:03:42,717 --> 00:03:44,517 The physicality, too. 59 00:03:44,517 --> 00:03:47,477 And if it had that effect on me in the 1980s, 60 00:03:47,477 --> 00:03:50,037 think what it did to audiences in 1951. 61 00:03:52,317 --> 00:03:56,557 A Streetcar Named Desire stars Marlon Brando as Stanley. 62 00:03:56,557 --> 00:03:59,957 The arrival of his unstable sister-in-law Blanche, 63 00:03:59,957 --> 00:04:02,717 played by Vivienne Leigh, causes sexual tension, 64 00:04:02,717 --> 00:04:04,357 which leads to her breakdown. 65 00:04:04,357 --> 00:04:07,197 You can hear the seeds of this in the music 66 00:04:07,197 --> 00:04:10,637 from their very first encounter. 67 00:04:10,637 --> 00:04:14,037 SLOW JAZZ MUSIC 68 00:04:18,397 --> 00:04:22,357 The soundtrack was the debut film score of Alex North. 69 00:04:22,357 --> 00:04:24,917 A modernist composer who loved jazz. 70 00:04:24,917 --> 00:04:27,117 And had long wondered 71 00:04:27,117 --> 00:04:30,997 if its essence could be captured in a more classical musical structure. 72 00:04:30,997 --> 00:04:35,677 With Streetcar, North harnessed the rhythms and harmonies of jazz 73 00:04:35,677 --> 00:04:39,877 to emphasise the complex chemistry between the characters. 74 00:04:39,877 --> 00:04:42,877 As soon as Stanley walks in the room, 75 00:04:42,877 --> 00:04:45,077 you get this brilliant jazz riff. 76 00:04:45,077 --> 00:04:47,317 HE PLAYS PIANO 77 00:04:50,797 --> 00:04:53,157 It's got a march to it, a sort of step. 78 00:04:53,157 --> 00:04:56,957 It's like the march of fate - he will be her nemesis. 79 00:04:56,957 --> 00:05:01,837 Over that we get these two gorgeous sax solos. 80 00:05:01,837 --> 00:05:04,517 One of them starts almost straightaway. 81 00:05:04,517 --> 00:05:06,117 Which is kind of Stanley. 82 00:05:11,517 --> 00:05:16,477 - You must be Stanley. I'm Blanche. - Oh, you're Stella's sister. 83 00:05:17,717 --> 00:05:20,477 - Yes. - Oh, hi. 84 00:05:20,477 --> 00:05:24,437 There's a real sense that Stanley's there in all his sweaty glory. 85 00:05:24,437 --> 00:05:26,717 We suddenly hear another sax solo, 86 00:05:26,717 --> 00:05:30,157 which immediately begins to climb higher and higher and higher. 87 00:05:30,157 --> 00:05:34,157 Until it almost gets within a range beyond which it can't go. 88 00:05:34,157 --> 00:05:36,557 That is Blanche. 89 00:05:40,637 --> 00:05:42,917 Hey, you mind if I make myself comfortable? 90 00:05:42,917 --> 00:05:45,517 - My shirt is sticking to me. - Please, please. Please do. 91 00:05:45,517 --> 00:05:49,357 That sax solo is telling us what she's feeling. 92 00:05:49,357 --> 00:05:52,077 And she's already close to breakdown. 93 00:05:52,077 --> 00:05:54,957 These are all moments in the scene that simply couldn't be 94 00:05:54,957 --> 00:05:56,597 put across any other way. 95 00:05:56,597 --> 00:05:59,357 And what the instruments are doing is being played in a way 96 00:05:59,357 --> 00:06:02,597 whereby you can hear the breath, you can hear the notes 97 00:06:02,597 --> 00:06:05,437 moving around, you can hear them being bent and changed. 98 00:06:05,437 --> 00:06:08,117 And it begins to sound like a human voice. 99 00:06:08,117 --> 00:06:13,517 When you add that sound to a scene, there's a real sense of physicality. 100 00:06:13,517 --> 00:06:15,637 Humanity, if you like. 101 00:06:15,637 --> 00:06:18,877 Something which you couldn't get out of classical music. 102 00:06:18,877 --> 00:06:22,477 But which jazz gives you from the first second you hear a note. 103 00:06:22,477 --> 00:06:25,877 But this is no ordinary love triangle. 104 00:06:25,877 --> 00:06:30,037 Despite Blanche's attraction to Stanley, it's Stella, his wife, 105 00:06:30,037 --> 00:06:33,917 with her unavoidable sexual power, who really has a hold over him. 106 00:06:33,917 --> 00:06:36,437 Stella! 107 00:06:38,117 --> 00:06:40,437 Hey, Stella! 108 00:06:40,437 --> 00:06:43,997 North's score in this scene is doing what all great film music does - 109 00:06:43,997 --> 00:06:46,237 telling us more than we can see. 110 00:06:46,237 --> 00:06:50,237 And in this case, more than the characters will actually tell us. 111 00:06:50,237 --> 00:06:52,637 This scene's about desire. 112 00:06:52,637 --> 00:06:56,357 You can hear in every note of that sax how Stanley feels about Stella. 113 00:06:56,357 --> 00:06:58,237 And how she feels about him. 114 00:06:58,237 --> 00:07:00,997 And what binds the two of them together. 115 00:07:00,997 --> 00:07:03,557 ATMOSPHERIC JAZZ MUSIC 116 00:07:08,237 --> 00:07:10,277 And that was the problem. 117 00:07:10,277 --> 00:07:13,877 The Legion Of Decency, a self appointed moral pressure group, 118 00:07:13,877 --> 00:07:15,997 were very powerful at this time. 119 00:07:15,997 --> 00:07:19,637 They saw the scene, heard the music and took exception to both. 120 00:07:20,917 --> 00:07:25,357 The scene had to be cut, and North had to go back and rescore. 121 00:07:25,357 --> 00:07:29,677 Out went the sax to be replaced by strings. 122 00:07:29,677 --> 00:07:31,397 EMOTIONAL MUSIC 123 00:07:33,117 --> 00:07:36,517 Sentimentality took over from sensuality. 124 00:07:39,437 --> 00:07:43,757 And in the version everybody saw, Stella wanted Stanley back. 125 00:07:43,757 --> 00:07:47,877 But in North's original, Stella just wanted Stanley. 126 00:07:52,477 --> 00:07:54,397 Don't ever leave me, baby. 127 00:07:59,197 --> 00:08:04,397 Through the 1950s, jazz expanded the range of film music in America. 128 00:08:04,397 --> 00:08:08,197 And drove a wave of gritty dramas whose soundtracks captured 129 00:08:08,197 --> 00:08:12,517 the moral complexities of the characters and stories. 130 00:08:12,517 --> 00:08:15,517 MUSIC: "Beat Girl Theme" by John Barry 131 00:08:15,517 --> 00:08:17,837 Across the Atlantic, 132 00:08:17,837 --> 00:08:20,757 Britain was producing its own socially aware dramas 133 00:08:20,757 --> 00:08:22,957 with contemporary scores to match. 134 00:08:29,517 --> 00:08:31,997 Beat Girl was set in the Soho beat scene. 135 00:08:31,997 --> 00:08:35,557 And while its moralistic plot was all a bit trad, its music 136 00:08:35,557 --> 00:08:39,517 harnessed the urgency and energy of jazz-influenced British pop. 137 00:08:42,636 --> 00:08:45,797 Beat Girl was the debut film score by John Barry - 138 00:08:45,797 --> 00:08:48,877 a young composer and arranger who'd had several pop hits 139 00:08:48,877 --> 00:08:51,477 with his own group, The John Barry Seven. 140 00:08:54,437 --> 00:08:57,997 The band's signature sound was driven by catchy guitar riffs 141 00:08:57,997 --> 00:09:01,037 and Barry's own trumpet solos. 142 00:09:01,037 --> 00:09:05,197 Barry's real ambition was to have a career as a pop star. 143 00:09:05,197 --> 00:09:07,757 And he only landed the Beat Girl job 144 00:09:07,757 --> 00:09:11,197 because he shared the same manager as the film's star Adam Faith. 145 00:09:11,197 --> 00:09:14,037 # I diss what you told me... # 146 00:09:14,037 --> 00:09:16,157 But maybe it was predestined. 147 00:09:16,157 --> 00:09:18,877 Barry's father had run a cinema chain 148 00:09:18,877 --> 00:09:21,357 and, as a child, he'd lapped up movies. 149 00:09:22,717 --> 00:09:25,957 John Barry worked here in Soho - the heart of London's film 150 00:09:25,957 --> 00:09:28,997 and music industries. Tin Pan Alley. 151 00:09:28,997 --> 00:09:32,837 He even used a strip club as a rehearsal space for his band, 152 00:09:32,837 --> 00:09:34,437 The John Barry Seven. 153 00:09:34,437 --> 00:09:37,717 I think you can hear those influences in the job that he did. 154 00:09:37,717 --> 00:09:42,637 Arranging and performing the theme to the first James Bond film, Dr No. 155 00:09:42,637 --> 00:09:45,397 MUSIC: "James Bond Theme" by John Barry Orchestra 156 00:09:45,397 --> 00:09:49,437 Dr No's opening titles are animated entirely around the rhythm 157 00:09:49,437 --> 00:09:52,517 of the music - pushing it to the fore. 158 00:09:52,517 --> 00:09:54,877 We can't ignore the swagger of the guitar 159 00:09:54,877 --> 00:09:57,677 and the almost sleazy quality of the horns. 160 00:10:03,037 --> 00:10:06,037 Barry was brought in to arrange this theme from a tune 161 00:10:06,037 --> 00:10:09,837 written by big band singer Monty Norman. 162 00:10:09,837 --> 00:10:11,037 I never saw the movie. 163 00:10:11,037 --> 00:10:13,637 I never met Saltzman and Broccoli. I never met the director. 164 00:10:13,637 --> 00:10:17,117 I never even read a script. I just knew Bond. 165 00:10:17,117 --> 00:10:19,237 I think it was in the Daily Mail, 166 00:10:19,237 --> 00:10:24,877 there was a strip of Bond, which I'd occasionally looked at. 167 00:10:24,877 --> 00:10:26,997 So I knew what it was about. 168 00:10:26,997 --> 00:10:30,397 Monty Norman's theme for Dr No was based on a number 169 00:10:30,397 --> 00:10:33,237 he'd written for musical. And it went like this. 170 00:10:33,237 --> 00:10:36,357 HE PLAYS DR NO MELODY 171 00:10:37,717 --> 00:10:40,997 So what John Barry did in his arrangement, was bring to it 172 00:10:40,997 --> 00:10:43,397 everything he understood about pop and jazz. 173 00:10:43,397 --> 00:10:46,197 First of all, he kept that melody line but he gave it to 174 00:10:46,197 --> 00:10:48,517 the twangy guitar that he understood so well 175 00:10:48,517 --> 00:10:50,197 from The John Barry Seven days. 176 00:10:50,197 --> 00:10:53,437 Then he added a real driver behind it, which is 177 00:10:53,437 --> 00:10:55,557 this deep bass brass sound. 178 00:10:55,557 --> 00:10:58,637 HE PLAYS THEME 179 00:11:03,237 --> 00:11:07,277 Then he added this fabulous middle eight, which takes the music 180 00:11:07,277 --> 00:11:09,357 and the film on to a different level. 181 00:11:09,357 --> 00:11:12,197 HE PLAYS THEME 182 00:11:16,197 --> 00:11:18,077 That screaming horn section 183 00:11:18,077 --> 00:11:20,757 has an extraordinary confidence and raciness. 184 00:11:22,037 --> 00:11:24,797 But it's also deeply pop. It's deeply jazz. 185 00:11:24,797 --> 00:11:27,557 It's got a wonderful kind of mish-mash of all the things 186 00:11:27,557 --> 00:11:28,997 that John Barry understood. 187 00:11:28,997 --> 00:11:32,477 MUSIC: "James Bond Theme" by John Barry Orchestra 188 00:11:37,237 --> 00:11:41,597 John Barry got paid 250 quid for his arrangement of the Bond theme. 189 00:11:41,597 --> 00:11:44,717 And it wasn't until he queued up with everybody else to see 190 00:11:44,717 --> 00:11:47,837 Dr No at the cinema that he realised how ubiquitous his theme was. 191 00:11:47,837 --> 00:11:51,157 He contacted the producers, saying, "I arranged your opening title 192 00:11:51,157 --> 00:11:54,317 "music, I didn't expect to hear it sploshed through the whole film. 193 00:11:54,317 --> 00:11:56,237 "Can I have some more money?" 194 00:11:56,237 --> 00:11:59,117 They said, "No, but you can score the next one. 195 00:11:59,117 --> 00:12:00,957 "If there is a next one." 196 00:12:00,957 --> 00:12:04,677 In fact, Barry went on to score 11 Bond movies. 197 00:12:04,677 --> 00:12:07,637 And you can hear the difference when he's not just an arranger 198 00:12:07,637 --> 00:12:10,877 but a fully-fledged composer in his own right. 199 00:12:10,877 --> 00:12:14,077 MUSIC: "Goldfinger" by Shirley Bassey 200 00:12:22,637 --> 00:12:26,197 For Goldfinger, Barry drew from his pop contacts, 201 00:12:26,197 --> 00:12:29,397 casting Shirley Bassey to sing the title song. 202 00:12:30,437 --> 00:12:33,317 LOUD KISS 203 00:12:33,317 --> 00:12:37,037 # It's the kiss of death 204 00:12:37,037 --> 00:12:40,717 # From Mr Goldfinger... # 205 00:12:40,717 --> 00:12:44,237 From now on, every Bond movie's title number would be 206 00:12:44,237 --> 00:12:47,437 performed by a leading pop star of the day. 207 00:12:47,437 --> 00:12:49,597 And the song would help sell the movie. 208 00:12:49,597 --> 00:12:52,397 # ..His heart is cold 209 00:12:52,397 --> 00:12:54,917 # He loves only gold... # 210 00:12:54,917 --> 00:12:58,157 Having firmly established his Goldfinger theme 211 00:12:58,157 --> 00:12:59,717 in the opening song, Barry runs it 212 00:12:59,717 --> 00:13:04,037 though a series of symphonic variations throughout the film. 213 00:13:04,037 --> 00:13:08,117 As when Bond pursues Goldfinger through the Swiss Alps. 214 00:13:08,117 --> 00:13:11,157 VARIATION ON BOND THEME PLAYS 215 00:13:14,557 --> 00:13:17,917 And here, Barry seamlessly switches from the original Bond theme 216 00:13:17,917 --> 00:13:20,877 to the Goldfinger tune. 217 00:13:20,877 --> 00:13:24,477 MUSIC PLAYS 218 00:13:24,477 --> 00:13:26,437 He's on the move. 219 00:13:35,997 --> 00:13:39,517 Although his music's origins are rooted in pop and jazz, 220 00:13:39,517 --> 00:13:43,157 Barry was also scoring the characters with their own themes - 221 00:13:43,157 --> 00:13:46,557 in a way traditional Hollywood composers would have understood. 222 00:13:47,877 --> 00:13:50,877 Barry's success showed how the worlds of film 223 00:13:50,877 --> 00:13:54,237 and pop music were drawing ever closer together. 224 00:13:59,837 --> 00:14:03,917 But throughout the '60s, although pop was becoming an ally of film, 225 00:14:03,917 --> 00:14:07,677 it also threatened to pull young audiences away from the movies, 226 00:14:07,677 --> 00:14:10,157 overtaking them in popularity. 227 00:14:10,157 --> 00:14:12,637 MUSIC: "Hard Day's Night" by The Beatles 228 00:14:14,837 --> 00:14:20,077 So, with a strident guitar chord and an opening shot that captures 229 00:14:20,077 --> 00:14:22,877 the tidal wave of fan hysteria, 230 00:14:22,877 --> 00:14:27,037 one film set out directly to embrace the pop phenomenon. 231 00:14:29,437 --> 00:14:32,917 A Hard Day's Night - the first film to feature The Beatles, 232 00:14:32,917 --> 00:14:35,157 the world's biggest pop band. 233 00:14:35,157 --> 00:14:37,717 Nobody had ever seen anything like it before. 234 00:14:37,717 --> 00:14:39,477 But then that was the idea. 235 00:14:39,477 --> 00:14:42,157 A young generation could tell straightaway, 236 00:14:42,157 --> 00:14:45,077 this was a movie aimed directly at them. 237 00:14:45,077 --> 00:14:47,597 # So why on earth should I moan 238 00:14:47,597 --> 00:14:49,917 # Cos when I get you alone 239 00:14:49,917 --> 00:14:52,197 # You know I feel OK... # 240 00:14:52,197 --> 00:14:56,317 Director Richard Lester faced a unique challenge. 241 00:14:56,317 --> 00:14:59,237 He had to choose songs which had already been 242 00:14:59,237 --> 00:15:02,077 recorded by The Beatles before a script had even been written. 243 00:15:02,077 --> 00:15:05,557 And somehow construct a film that made sense. 244 00:15:06,597 --> 00:15:10,597 We were given ten songs and I rejected two. 245 00:15:10,597 --> 00:15:12,717 You sit down, 246 00:15:12,717 --> 00:15:16,757 given this bag of toys, of wonderful songs, 247 00:15:16,757 --> 00:15:18,757 and you think, 248 00:15:18,757 --> 00:15:20,757 "I can't see where this can go." 249 00:15:23,077 --> 00:15:27,237 The only thing that bound these songs together was the band. 250 00:15:27,237 --> 00:15:31,677 So Lester looked to the Beatles themselves for ideas about how 251 00:15:31,677 --> 00:15:34,637 to build his sequences. 252 00:15:34,637 --> 00:15:38,477 They all had a fairly developed sense of the surreal. 253 00:15:38,477 --> 00:15:43,677 The first thing I tried to do with the film is to let the audience 254 00:15:43,677 --> 00:15:49,477 know that things were not going to be a straightforward documentary 255 00:15:49,477 --> 00:15:54,117 narrative of a day in the life of The Beatles. 256 00:15:54,117 --> 00:15:56,677 Aye, aye, the Liverpool shuffle. 257 00:15:56,677 --> 00:15:58,637 In this scene, 258 00:15:58,637 --> 00:16:03,277 the band magically switch from playing cards to playing a song. 259 00:16:03,277 --> 00:16:05,997 MUSIC: "When I Get Home" by The Beatles 260 00:16:07,717 --> 00:16:10,557 # Whoa-whoa I... # 261 00:16:10,557 --> 00:16:15,157 It was saying to the audience, "You see, life is not as you think it is. 262 00:16:15,157 --> 00:16:17,917 "There is a surreal quality to them." 263 00:16:17,917 --> 00:16:21,957 # Can't you see? Can't you see? # 264 00:16:21,957 --> 00:16:28,797 The whole of Hard Day's Night was starting out of them 265 00:16:28,797 --> 00:16:32,717 being ordered about in small spaces. 266 00:16:32,717 --> 00:16:33,997 And no messing about. 267 00:16:33,997 --> 00:16:36,917 Lennon, put those girls down or I'll tell your mother on you. 268 00:16:36,917 --> 00:16:41,077 'Being yelled at and being chased by people, 269 00:16:41,077 --> 00:16:43,957 'and that sudden sense of relief.' 270 00:16:43,957 --> 00:16:45,997 We're out! 271 00:16:45,997 --> 00:16:48,517 MUSIC: "Can't Buy Me Love" by The Beatles 272 00:16:48,517 --> 00:16:53,757 'When they break out and run down a staircase and out into a field.' 273 00:16:53,757 --> 00:16:56,237 # I'll buy you a diamond ring... # 274 00:16:56,237 --> 00:16:58,197 CHEERING 275 00:16:58,197 --> 00:17:02,117 The success of A Hard Day's Night showed how pop music 276 00:17:02,117 --> 00:17:04,797 could get younger audiences flocking to the cinema. 277 00:17:12,117 --> 00:17:15,597 Hollywood had also seen how the wind was blowing. 278 00:17:15,597 --> 00:17:18,196 And leading the way was Walt Disney. 279 00:17:18,196 --> 00:17:21,077 Looking to appeal to children and parents alike, 280 00:17:21,077 --> 00:17:25,396 Disney realised his new composers had to be au fait with the pop song. 281 00:17:25,396 --> 00:17:28,317 He signed up the song-writing duo, brothers Richard 282 00:17:28,317 --> 00:17:32,597 and Robert Sherman, creators of the smash hit You're Sixteen. 283 00:17:34,237 --> 00:17:36,317 My dad challenged us to write pop music. 284 00:17:36,317 --> 00:17:38,437 And we started writing pop songs. 285 00:17:38,437 --> 00:17:44,277 And we had some big number one hits with rock 'n' roll songs. 286 00:17:44,277 --> 00:17:48,157 Uncle Walt wanted the brothers to bring their song-writing magic 287 00:17:48,157 --> 00:17:50,517 to a new Disney movie. 288 00:17:50,517 --> 00:17:53,677 He said, "You know what a nanny is?" We said, "Oh, yeah, it's a goat. 289 00:17:53,677 --> 00:17:56,637 "You want to do an animated film about a nanny goat?" 290 00:17:56,637 --> 00:17:59,197 "No, no, no," he says. "It's an English nursemaid." 291 00:17:59,197 --> 00:18:00,957 "Oh, yeah, sure. We can..." 292 00:18:00,957 --> 00:18:03,797 So we read this enchanting series of stories. 293 00:18:03,797 --> 00:18:07,957 The challenge facing the brothers was not only to compose 294 00:18:07,957 --> 00:18:12,837 the songs for Mary Poppins, but to construct a story from these books. 295 00:18:14,397 --> 00:18:17,197 We were reading them with great alarm because we'd say, 296 00:18:17,197 --> 00:18:20,197 "Well what's the plot? I mean, where is the storyline?" 297 00:18:20,197 --> 00:18:22,277 It was not a storyline at all. 298 00:18:22,277 --> 00:18:25,957 It was just wonderful adventures with this magical nanny 299 00:18:25,957 --> 00:18:29,157 who comes in and does great stuff, and then she leaves. 300 00:18:29,157 --> 00:18:32,117 So we knew we had to do some quick thinking. 301 00:18:32,117 --> 00:18:34,637 Let's come in with a storyline. 302 00:18:34,637 --> 00:18:37,717 MUSIC: "Boiled Beef And Carrots" by Harry Champion 303 00:18:37,717 --> 00:18:42,757 The brothers fused American pop with a more surprising tradition - 304 00:18:42,757 --> 00:18:45,677 English music hall. 305 00:18:45,677 --> 00:18:48,277 # Boiled beef and carrots 306 00:18:48,277 --> 00:18:49,957 # Boiled beef and carrots... # 307 00:18:49,957 --> 00:18:52,117 Their passion for these songs would be 308 00:18:52,117 --> 00:18:54,237 the inspiration behind the film's score. 309 00:18:54,237 --> 00:18:57,237 With the movie set in Edwardian London. 310 00:18:57,237 --> 00:19:01,157 I've always been a fan of English music hall. 311 00:19:01,157 --> 00:19:03,397 Those wonderful old songs. Boiled Beef And Carrots. 312 00:19:03,397 --> 00:19:05,117 All those things like that. 313 00:19:05,117 --> 00:19:08,157 Walt bought that right away. He knew what I was talking about. 314 00:19:08,157 --> 00:19:11,877 We were called in and there were Walt Disney, all of them 315 00:19:11,877 --> 00:19:15,077 singing Knees Up Mother Brown, kicking their feet up in the air. 316 00:19:15,077 --> 00:19:16,637 And they were all out of breath. 317 00:19:16,637 --> 00:19:20,477 And Walt said, "Now, I want you to write me a song like this, right?" 318 00:19:20,477 --> 00:19:23,117 We said, "Yes, Walt, we'll write you a song like that." 319 00:19:23,117 --> 00:19:24,757 So we started with... 320 00:19:24,757 --> 00:19:26,397 # Step in time, step in time 321 00:19:26,397 --> 00:19:27,797 # Step in time, step in time 322 00:19:27,797 --> 00:19:29,597 # You never need a reason, never need a rhyme 323 00:19:29,597 --> 00:19:31,157 # Step in time you step in time... # 324 00:19:31,157 --> 00:19:32,837 Link your elbows! 325 00:19:32,837 --> 00:19:34,797 # Link your elbows, step in time 326 00:19:34,797 --> 00:19:36,397 # Link your elbows, step in time 327 00:19:36,397 --> 00:19:37,957 # Link your elbows, link your elbows 328 00:19:37,957 --> 00:19:39,717 # Link your elbows... # 329 00:19:39,717 --> 00:19:42,437 That little piece went for 12 minutes. 330 00:19:42,437 --> 00:19:45,597 You know, one of the greatest scenes you've ever seen. 331 00:19:45,597 --> 00:19:48,917 And the Shermans would mix all the ingredients that make a classic 332 00:19:48,917 --> 00:19:53,277 pop song - a memorable lyric, a catchy melody and a potent hook - 333 00:19:53,277 --> 00:19:56,037 to create the film's most-loved tune. 334 00:19:59,117 --> 00:20:01,397 We came up with this nonsense word, 335 00:20:01,397 --> 00:20:04,077 which we decided would be a great gift for Mary Poppins 336 00:20:04,077 --> 00:20:05,677 to give to the children. 337 00:20:05,677 --> 00:20:07,237 So we said, "Let's give them 338 00:20:07,237 --> 00:20:09,677 "a really, funny, crazy, obnoxious word." 339 00:20:09,677 --> 00:20:12,397 And we started, we said, "It's got to be super colossal." 340 00:20:12,397 --> 00:20:15,917 And super colossal...well, anybody would write super colossal. 341 00:20:15,917 --> 00:20:18,757 So we said, "Super something, super crazy, 342 00:20:18,757 --> 00:20:21,037 "super caga...flava...slava... 343 00:20:21,037 --> 00:20:25,757 "Supercali... supercalifragilistic! A-ha!" And then, we had... 344 00:20:25,757 --> 00:20:28,557 # Um diddle diddle um diddle ay Um diddle diddle diddle um 345 00:20:28,557 --> 00:20:31,157 # Because I was afraid to speak When I was just a lad 346 00:20:31,157 --> 00:20:34,717 # Me father gave me nose a tweak And told me I was bad... 347 00:20:34,717 --> 00:20:38,237 # But then one day I learned a word That saved me aching nose 348 00:20:38,237 --> 00:20:41,317 # The biggest word you ever heard And this is how it goes, oh! 349 00:20:41,317 --> 00:20:44,197 # Supercalifragilisticexpialidocious 350 00:20:44,197 --> 00:20:47,477 # Even though the sound of it Is something quite atrocious 351 00:20:47,477 --> 00:20:50,757 # If you say it loud enough You'll always sound precocious 352 00:20:50,757 --> 00:20:52,877 # Supercalifragilisticexpialidocious 353 00:20:52,877 --> 00:20:56,357 # Um diddle diddle um diddle ay # Um diddle diddle um diddle ay... # 354 00:20:56,357 --> 00:21:00,157 These songs earned the Sherman Brothers two Academy Awards. 355 00:21:00,157 --> 00:21:02,757 # I've reached the top And had to stop 356 00:21:02,757 --> 00:21:04,757 # And that's what bothering me... # 357 00:21:04,757 --> 00:21:08,517 Their knack for writing pop tunes would underlay the huge success 358 00:21:08,517 --> 00:21:11,917 they went on to enjoy with other classic Disney movies, 359 00:21:11,917 --> 00:21:13,517 like The Jungle Book. 360 00:21:13,517 --> 00:21:15,997 # ..I'm tired of monkeying around! 361 00:21:15,997 --> 00:21:17,597 # Oh, oobee doo 362 00:21:17,597 --> 00:21:20,477 # I wanna be like you 363 00:21:20,477 --> 00:21:24,037 # I wanna walk like you Talk like you... # 364 00:21:24,037 --> 00:21:26,597 The Shermans had applied their pop sensibility 365 00:21:26,597 --> 00:21:30,077 to reinvigorate the animated musical. 366 00:21:30,077 --> 00:21:33,117 But in Europe, an entirely different film genre 367 00:21:33,117 --> 00:21:36,797 would unexpectedly be changed by a pop composer. 368 00:21:39,517 --> 00:21:43,397 This is the opening of A Fistful Of Dollars, 369 00:21:43,397 --> 00:21:46,877 its bold graphics and striking music a declaration 370 00:21:46,877 --> 00:21:49,197 that the Spaghetti Western had arrived. 371 00:21:51,517 --> 00:21:53,957 Italian filmmakers were giving new life 372 00:21:53,957 --> 00:21:56,077 to one the oldest genres of cinema. 373 00:21:56,077 --> 00:21:58,117 Written by Ennio Morricone, 374 00:21:58,117 --> 00:22:00,917 this title theme boasts the kind of elements 375 00:22:00,917 --> 00:22:03,197 that made his sound so distinctive - 376 00:22:03,197 --> 00:22:05,077 the melody, the whistles, 377 00:22:05,077 --> 00:22:07,117 the recording of a whip crack. 378 00:22:08,837 --> 00:22:10,117 HORSE TROTTING 379 00:22:10,117 --> 00:22:11,997 GUNSHOTS 380 00:22:14,237 --> 00:22:17,717 This use of real world sounds came from Morricone's time 381 00:22:17,717 --> 00:22:20,637 as an arranger of Italian pop records. 382 00:22:21,877 --> 00:22:24,517 TRANSLATION FROM ITALIAN: 383 00:22:39,357 --> 00:22:42,837 The music for A Fistful Of Dollars was based on a pop record 384 00:22:42,837 --> 00:22:46,437 that Morricone had arranged called Pastures Of Plenty, 385 00:22:46,437 --> 00:22:49,717 which had impressed director Sergio Leone. 386 00:22:49,717 --> 00:22:51,557 # We come with the dust 387 00:22:51,557 --> 00:22:54,077 # And we're gone with the wind 388 00:22:54,077 --> 00:22:59,837 # Oh, oooh, oooh, oooh... # 389 00:22:59,837 --> 00:23:03,277 Leone and Morricone had been friends since childhood, 390 00:23:03,277 --> 00:23:06,557 but Leone also knew that the innovation Morricone had shown 391 00:23:06,557 --> 00:23:09,757 on his pop records could deliver something special 392 00:23:09,757 --> 00:23:11,357 despite a tight budget. 393 00:23:13,357 --> 00:23:16,397 Morricone brings his own sensibility to the Western, 394 00:23:16,397 --> 00:23:20,717 he mixes his kind of idea of '60s music and modern sounds 395 00:23:20,717 --> 00:23:24,717 and very individualistic sounds with the idea of the Old West, 396 00:23:24,717 --> 00:23:29,197 the Spanish guitar, the whistle, this sense of folk music. 397 00:23:29,197 --> 00:23:33,117 And here, he combines this with the 19th-century European device 398 00:23:33,117 --> 00:23:35,557 of the leitmotif. 399 00:23:35,557 --> 00:23:39,237 So out of that title music, when we first see Clint Eastwood, 400 00:23:39,237 --> 00:23:40,917 The Man With No Name, 401 00:23:40,917 --> 00:23:42,637 he gets his own little motif. 402 00:23:42,637 --> 00:23:45,597 FLUTE PLAYS 403 00:23:45,597 --> 00:23:48,037 Just a little flute... 404 00:23:48,037 --> 00:23:51,717 But then, when he is spotted by the villain, you get this. 405 00:23:52,997 --> 00:23:55,357 PIANO PLAYS 406 00:23:55,357 --> 00:23:59,237 And it's got a little bit more of a sense of danger about it. 407 00:23:59,237 --> 00:24:01,877 PIANO PLAYS 408 00:24:03,037 --> 00:24:05,717 And above that comes the Japanese flute, 409 00:24:05,717 --> 00:24:07,357 which to me says, you know, 410 00:24:07,357 --> 00:24:08,957 Yojimbo, which is the Japanese epic 411 00:24:08,957 --> 00:24:11,357 on which this film was entirely based. 412 00:24:11,357 --> 00:24:13,357 So now, Eastwood is a samurai. 413 00:24:13,357 --> 00:24:15,277 This is what Morricone does, 414 00:24:15,277 --> 00:24:19,317 he drops these tiny musical ideas into the film throughout, 415 00:24:19,317 --> 00:24:21,717 giving us a different feel, a different sound each time, 416 00:24:21,717 --> 00:24:24,517 sometimes very, very short, just a couple of notes. 417 00:24:28,917 --> 00:24:31,917 Here we have the other great gift that Morricone has, 418 00:24:31,917 --> 00:24:34,597 a gift for melody, and not just melody, 419 00:24:34,597 --> 00:24:36,597 a melody that will break your heart. 420 00:24:36,597 --> 00:24:38,197 MELODY PLAYS 421 00:24:38,197 --> 00:24:39,877 Get three coffins ready. 422 00:24:42,797 --> 00:24:44,957 But often, a melody that is placed 423 00:24:44,957 --> 00:24:49,157 either before or during the most violent moments of these films, 424 00:24:49,157 --> 00:24:53,117 it gives them an extraordinary texture. Listen to this. 425 00:24:53,117 --> 00:24:55,877 MELANCHOLIC PIANO PIECE 426 00:25:05,957 --> 00:25:07,837 MELODY CONTINUES 427 00:25:16,197 --> 00:25:18,037 It's actually still quite a thin sound, 428 00:25:18,037 --> 00:25:20,837 it's a single melodic instrument over a string section, 429 00:25:20,837 --> 00:25:22,277 so it's not full orchestra. 430 00:25:22,277 --> 00:25:24,037 This is partially because of budget, 431 00:25:24,037 --> 00:25:27,037 but also because I think Morricone understands 432 00:25:27,037 --> 00:25:31,397 that we want to hear small textures working under these moments, 433 00:25:31,397 --> 00:25:34,677 but it really makes us root for Clint Eastwood 434 00:25:34,677 --> 00:25:38,437 and gives Clint Eastwood's character a soft side 435 00:25:38,437 --> 00:25:42,277 which is simply not there in the way that he plays it. 436 00:25:46,557 --> 00:25:48,597 By the time we get to the final shootout, 437 00:25:48,597 --> 00:25:50,797 that theme of Eastwood's has become huge. 438 00:25:50,797 --> 00:25:53,317 We now have a trumpet on the lead line, 439 00:25:53,317 --> 00:25:55,197 very Spanish, beautiful. 440 00:25:55,197 --> 00:25:58,717 We have strings behind, we have the voices behind, 441 00:25:58,717 --> 00:26:00,637 so it has an amazing strength. 442 00:26:00,637 --> 00:26:03,677 FULL MELODY PLAYS 443 00:26:10,917 --> 00:26:13,357 And we're now in a world of ritual. 444 00:26:13,357 --> 00:26:17,357 It's as if the music is making the characters choreographed. 445 00:26:18,757 --> 00:26:22,197 They appear to move in time with the music. 446 00:26:22,197 --> 00:26:24,957 MELODY INTENSIFIES 447 00:26:31,957 --> 00:26:34,477 And it gives it that timeless quality, 448 00:26:34,477 --> 00:26:37,037 but it also gives it an operatic quality - 449 00:26:37,037 --> 00:26:40,637 this shootout was inevitable from the first moment of the film 450 00:26:40,637 --> 00:26:44,877 and now the music is giving us the arena within which it can happen. 451 00:26:52,997 --> 00:26:57,597 Scenes like these placed Morricone in the great tradition of composers 452 00:26:57,597 --> 00:27:00,317 who shaped not just the sound of a movie, 453 00:27:00,317 --> 00:27:02,437 but its very construction. 454 00:27:02,437 --> 00:27:06,037 In these and his subsequent films with director Sergio Leone, 455 00:27:06,037 --> 00:27:10,117 Morricone was a fully-fledged artistic collaborator 456 00:27:10,117 --> 00:27:12,317 in creating the cinematic drama. 457 00:27:16,837 --> 00:27:21,517 The Spaghetti Western established a trend for increasingly violent films 458 00:27:21,517 --> 00:27:23,677 with almost wordless heroes, 459 00:27:23,677 --> 00:27:26,997 whose inner nature was expressed through the music. 460 00:27:29,237 --> 00:27:31,237 This method of scoring characters 461 00:27:31,237 --> 00:27:33,517 would make its way into American cinema 462 00:27:33,517 --> 00:27:36,557 through a film shot here, on the West Coast. 463 00:27:38,677 --> 00:27:42,717 I'm driving through San Francisco, it's a beautiful sunny day. 464 00:27:42,717 --> 00:27:44,117 And thanks to the movies, 465 00:27:44,117 --> 00:27:47,517 these are some of the most recognisable streets in the world. 466 00:27:47,517 --> 00:27:49,237 But there's something missing. 467 00:27:49,237 --> 00:27:51,157 JAZZ MUSIC PLAYS 468 00:27:51,157 --> 00:27:52,437 That's more like it. 469 00:28:01,477 --> 00:28:04,237 This is the soundtrack to the movie Bullitt, 470 00:28:04,237 --> 00:28:08,157 set in San Francisco and starring Steve McQueen. 471 00:28:14,197 --> 00:28:16,597 Bullitt was scored by Lalo Schifrin, 472 00:28:16,597 --> 00:28:18,757 an Argentinian-born composer 473 00:28:18,757 --> 00:28:22,077 who trained in both classical and jazz music. 474 00:28:22,077 --> 00:28:24,557 He'd worked in Hollywood since the early '60s 475 00:28:24,557 --> 00:28:29,317 and was best known for his theme to TV series Mission: Impossible. 476 00:28:34,037 --> 00:28:38,677 Schifrin had also been mentored by the jazz legend Dizzy Gillespie, 477 00:28:38,677 --> 00:28:41,077 playing with him in New York in the '50s, 478 00:28:41,077 --> 00:28:44,317 and he wanted to inject some of those jazz rhythms and beats 479 00:28:44,317 --> 00:28:46,237 into the soundtrack for Bullitt. 480 00:28:50,477 --> 00:28:52,837 Like Clint Eastwood's gunslinger, 481 00:28:52,837 --> 00:28:56,517 Steve McQueen's detective Frank Bullitt rarely speaks, 482 00:28:56,517 --> 00:28:59,357 but Schifrin's score is his voice. 483 00:28:59,357 --> 00:29:01,437 Steve McQueen, he said, 484 00:29:01,437 --> 00:29:03,677 "Bullitt is a very simple guy. 485 00:29:03,677 --> 00:29:05,997 "I want you to write a simple theme." 486 00:29:10,357 --> 00:29:12,797 McQueen's charisma is that of an ordinary man 487 00:29:12,797 --> 00:29:14,917 required to do extraordinary things. 488 00:29:14,917 --> 00:29:18,677 His almost wordless performance means that we are relying a lot 489 00:29:18,677 --> 00:29:21,037 on how he looks for that charisma. 490 00:29:23,077 --> 00:29:26,837 However, Lalo Schifrin's music gives his every moment, 491 00:29:26,837 --> 00:29:29,597 no matter how mundane, a cool energy. 492 00:29:35,957 --> 00:29:38,837 Bullitt's most famous sequence is ten minutes long 493 00:29:38,837 --> 00:29:42,277 and contains no dialogue, but an awful lot of driving. 494 00:29:42,277 --> 00:29:45,357 What makes it compelling is Lalo Schifrin's score, 495 00:29:45,357 --> 00:29:48,517 which through a couple of very precise gear changes 496 00:29:48,517 --> 00:29:50,517 turns a street game of cat and mouse 497 00:29:50,517 --> 00:29:52,997 into something altogether more deadly. 498 00:29:56,277 --> 00:29:58,237 Here, Schifrin's music focuses 499 00:29:58,237 --> 00:30:00,517 on Bullitt's intense concentration 500 00:30:00,517 --> 00:30:03,877 as he tails a pair of mobsters through the busy streets. 501 00:30:05,677 --> 00:30:08,597 It is insistent but tightly controlled, 502 00:30:08,597 --> 00:30:12,237 as we feel the pressure building up for the inevitable chase. 503 00:30:12,237 --> 00:30:14,637 MUSIC PLAYS 504 00:30:17,957 --> 00:30:21,237 So what will the score do next? 505 00:30:21,237 --> 00:30:24,917 'The director, he asked me to write music for the chase. 506 00:30:24,917 --> 00:30:26,757 'I said, "No."' 507 00:30:26,757 --> 00:30:28,437 "Why not?" 508 00:30:28,437 --> 00:30:31,037 "Because you are going to orchestrate the chase 509 00:30:31,037 --> 00:30:34,357 "with sound effects, you don't need music." 510 00:30:34,357 --> 00:30:37,757 'When Bullitt is in the car and changes gears, 511 00:30:37,757 --> 00:30:41,557 'that's when the chase starts and I build music up to that point, 512 00:30:41,557 --> 00:30:43,397 'and at that moment, stop.' 513 00:30:43,397 --> 00:30:44,637 MUSIC STOPS 514 00:30:44,637 --> 00:30:48,477 TYRES SQUEAL 515 00:30:48,477 --> 00:30:53,397 CAR ENGINE RUMBLES 516 00:30:53,397 --> 00:30:55,637 And yet people congratulate you 517 00:30:55,637 --> 00:30:57,837 on your scoring of the chase, I believe. 518 00:30:57,837 --> 00:31:00,757 Yes, they say, I love the music over the chase." 519 00:31:00,757 --> 00:31:02,117 And there's no music. 520 00:31:04,277 --> 00:31:07,077 Three years after Bullitt, Schifrin was invited 521 00:31:07,077 --> 00:31:09,997 to score another, altogether more violent, thriller 522 00:31:09,997 --> 00:31:11,397 set in San Francisco. 523 00:31:15,757 --> 00:31:17,317 And with Dirty Harry, 524 00:31:17,317 --> 00:31:21,557 director Don Siegel offered Schifrin considerable scope to experiment. 525 00:31:23,237 --> 00:31:25,477 And he said, "I have a new film," and he said, 526 00:31:25,477 --> 00:31:27,397 "I want you to write the music for it." 527 00:31:27,397 --> 00:31:30,197 And he gave me complete freedom. 528 00:31:30,197 --> 00:31:32,597 He didn't tell me what to do. 529 00:31:32,597 --> 00:31:36,397 While the dramatic centre of Dirty Harry is Clint Eastwood, 530 00:31:36,397 --> 00:31:40,317 much of Schifrin's music actually accompanies Scorpio, 531 00:31:40,317 --> 00:31:42,837 the crazed serial killer he pursues. 532 00:31:49,597 --> 00:31:53,317 I love, particularly, right from the very start in Dirty Harry, 533 00:31:53,317 --> 00:31:56,277 the first thing we have is Scorpio up on the roof 534 00:31:56,277 --> 00:31:58,037 - with his gun trained. - Yeah. 535 00:31:58,037 --> 00:32:01,477 And the music has a terrific power to it. 536 00:32:01,477 --> 00:32:05,877 TENSE MUSIC PLAYS 537 00:32:05,877 --> 00:32:08,837 Scorpio came with the idea of voices. 538 00:32:08,837 --> 00:32:11,757 Very frenetic, 539 00:32:11,757 --> 00:32:16,437 kind of...hysterical voices. 540 00:32:17,837 --> 00:32:21,597 Schifrin uses unusual sounds, such as rubbing the rim of a glass, 541 00:32:21,597 --> 00:32:24,837 to take us inside Scorpio's psychotic mind. 542 00:32:24,837 --> 00:32:29,437 EERIE MUSIC PLAYS 543 00:32:34,477 --> 00:32:36,557 There's also a sense that Scorpio 544 00:32:36,557 --> 00:32:39,157 represents the end of the '60s dream, 545 00:32:39,157 --> 00:32:41,917 a countercultural figure turned psychopath. 546 00:32:44,317 --> 00:32:49,077 Schifrin captures that idea in this scene with acid-rock guitar riffs. 547 00:32:49,077 --> 00:32:51,997 ROCK MUSIC PLAYS 548 00:32:56,077 --> 00:33:01,717 In Bullitt, I have electric guitar playing jazz or jazz style. 549 00:33:01,717 --> 00:33:06,717 In...in Dirty Harry, I used, for Scorpio, 550 00:33:06,717 --> 00:33:11,197 electric guitars playing kind of acid rock 551 00:33:11,197 --> 00:33:13,757 because I wanted to make a difference. 552 00:33:13,757 --> 00:33:18,197 ROCK MUSIC PLAYS 553 00:33:18,197 --> 00:33:20,077 Again, it's unpredictable. 554 00:33:20,077 --> 00:33:22,557 Yeah, and menacing, a little bit menacing. 555 00:33:29,797 --> 00:33:33,117 Schifrin had taken the popular-music influenced score 556 00:33:33,117 --> 00:33:35,037 to a new level of sophistication. 557 00:33:36,437 --> 00:33:38,997 But he was still working in the classic mould 558 00:33:38,997 --> 00:33:41,597 of a film composer trusted by the director 559 00:33:41,597 --> 00:33:44,677 to take charge of how a film sounded. 560 00:33:44,677 --> 00:33:49,517 But by the 1970s, a new generation of directors was coming into cinema 561 00:33:49,517 --> 00:33:52,797 who'd grown up with pop music as the soundtrack to their lives 562 00:33:52,797 --> 00:33:57,117 and wanted to reflect this far more directly in their films. 563 00:34:03,197 --> 00:34:05,877 In 1973, the greatest of these directors 564 00:34:05,877 --> 00:34:08,556 began a journey back into his own youth. 565 00:34:08,556 --> 00:34:11,476 Here, on the streets of New York's Little Italy. 566 00:34:14,277 --> 00:34:19,237 Martin Scorsese's Mean Streets was a film about the New York Mafia. 567 00:34:19,237 --> 00:34:21,797 It followed in the wake of The Godfather, 568 00:34:21,797 --> 00:34:23,797 but concerned small-time criminals 569 00:34:23,797 --> 00:34:25,996 and drew extensively on 570 00:34:25,996 --> 00:34:27,637 Scorsese's own memories. 571 00:34:27,637 --> 00:34:29,877 Scorsese made it on a small budget 572 00:34:29,877 --> 00:34:33,117 raised independently of the big studios. 573 00:34:33,117 --> 00:34:35,677 But it meant he had creative control 574 00:34:35,677 --> 00:34:39,317 and he made the key decision to leave out the composer entirely 575 00:34:39,317 --> 00:34:43,157 drawing the film soundtrack from his own record collection. 576 00:34:43,157 --> 00:34:45,437 'It wasn't even a question.' 577 00:34:45,437 --> 00:34:48,717 I could never have a composer, like Bernard Herrmann or Elmer Bernstein 578 00:34:48,717 --> 00:34:51,556 or...that was out of the question. 579 00:34:51,556 --> 00:34:53,917 You know, I knew I was going to make films somehow, 580 00:34:53,917 --> 00:34:57,157 but when I did, the soundtrack's up to me. 581 00:34:57,157 --> 00:35:00,157 And the music I knew and the music that scored my life, 582 00:35:00,157 --> 00:35:01,997 and still does to a certain extent, 583 00:35:01,997 --> 00:35:04,637 is the music I heard while growing up. 584 00:35:04,637 --> 00:35:07,717 So music was very, very much part of a expression 585 00:35:07,717 --> 00:35:10,197 of who you are and how you feel. 586 00:35:18,037 --> 00:35:19,397 You know, in reality, 587 00:35:19,397 --> 00:35:22,637 Mean Streets really takes place between '61 and '63, 588 00:35:22,637 --> 00:35:25,397 even though we shot it in '72. 589 00:35:25,397 --> 00:35:28,877 There was Phil Spector and there was the Wall Of Sound. 590 00:35:28,877 --> 00:35:31,437 And that's the sound I hear in my head. 591 00:35:31,437 --> 00:35:33,877 And that was the music that propelled 592 00:35:33,877 --> 00:35:35,717 all the action in the story 593 00:35:35,717 --> 00:35:38,437 and because that's what was playing in the middle of the night 594 00:35:38,437 --> 00:35:40,397 in those after-hour joints that we were in. 595 00:35:40,397 --> 00:35:42,637 Cos there were jukeboxes in these places, you see. 596 00:35:42,637 --> 00:35:45,877 And especially in the summertime, that music would just echo through. 597 00:35:45,877 --> 00:35:47,677 And when you're living in a tenement area, 598 00:35:47,677 --> 00:35:51,037 everybody's out and everybody knows what everybody else is doing. 599 00:35:52,277 --> 00:35:54,077 Right from the pre-title sequence, 600 00:35:54,077 --> 00:35:56,437 Scorsese used a record he loved 601 00:35:56,437 --> 00:36:00,677 to accompany the lead character, Charlie, played by Harvey Keitel. 602 00:36:00,677 --> 00:36:03,157 'I imagined the opening of the picture, 603 00:36:03,157 --> 00:36:05,997 'he looks at himself in the mirror, wonders who the hell he is' 604 00:36:05,997 --> 00:36:08,237 and then, he puts his head back on the pillow 605 00:36:08,237 --> 00:36:11,077 and as we do that, we cut three times into the beat. 606 00:36:11,077 --> 00:36:14,837 So that was all worked out in my head way, way in advance. 607 00:36:16,357 --> 00:36:19,277 MUSIC: "Be My Baby," by The Ronettes 608 00:36:22,597 --> 00:36:24,717 'The first beats of Be My Baby, 609 00:36:24,717 --> 00:36:27,157 'they just emerged' 610 00:36:27,157 --> 00:36:29,677 and they're with me all the time. 611 00:36:30,677 --> 00:36:32,957 So it's...even when I'm on set, it's always... 612 00:36:32,957 --> 00:36:35,597 HE TAPS THE SONG'S RHYTHM 613 00:36:35,597 --> 00:36:38,557 And they know, everybody looks at me, "Yeah, OK?" 614 00:36:38,557 --> 00:36:40,917 And it's just, it's just what I do. 615 00:36:40,917 --> 00:36:43,437 It's part of, it's become part of my DNA. 616 00:36:44,637 --> 00:36:47,757 And then, the thing was to go to home movies. 617 00:36:49,437 --> 00:36:52,397 And then, intercut with actual eight-millimetre films 618 00:36:52,397 --> 00:36:57,637 that my brother took of his first son's christening, that was 1965. 619 00:36:57,637 --> 00:37:01,317 - # ..Say you'll be my darling - Be my, be my baby 620 00:37:01,317 --> 00:37:04,277 # Be my baby now 621 00:37:04,277 --> 00:37:06,277 # Whoa whoa whoa whoa... # 622 00:37:06,277 --> 00:37:09,397 Mean Streets tells how Charlie's attempts 623 00:37:09,397 --> 00:37:11,037 to get ahead in the local mafia 624 00:37:11,037 --> 00:37:12,757 are complicated by Catholic guilt 625 00:37:12,757 --> 00:37:16,277 and his loyalty to his irresponsible friend Johnny Boy, 626 00:37:16,277 --> 00:37:18,197 played by Robert De Niro. 627 00:37:20,517 --> 00:37:22,477 Scorsese carefully makes us wait 628 00:37:22,477 --> 00:37:25,757 before showing us the two friends together. 629 00:37:25,757 --> 00:37:27,157 Girls, after you. 630 00:37:27,157 --> 00:37:30,997 'All right, OK, thanks a lot, Lord, thanks a lot for opening my eyes...' 631 00:37:30,997 --> 00:37:34,197 Charlie is waiting at the bar for Johnny Boy, 632 00:37:34,197 --> 00:37:38,077 what could Scorsese possibly do with such an ordinary scene? 633 00:37:38,077 --> 00:37:39,797 Well, what he does is to pull off 634 00:37:39,797 --> 00:37:43,517 possibly the greatest musical cue of the whole movie. 635 00:37:43,517 --> 00:37:47,797 MUSIC: "Jumpin' Jack Flash", by The Rolling Stones 636 00:37:47,797 --> 00:37:49,717 The music leaps into the foreground 637 00:37:49,717 --> 00:37:53,237 and, suddenly, Johnny Boy IS Jumpin' Jack Flash 638 00:37:53,237 --> 00:37:55,397 and he's a gas, gas, gas. 639 00:37:55,397 --> 00:37:58,077 And we know Charlie can't trust him. 640 00:37:58,077 --> 00:38:02,517 Look at Charlie's face - he knows Johnny Boy is going to be trouble. 641 00:38:02,517 --> 00:38:06,837 SONG CONTINUES 642 00:38:09,077 --> 00:38:13,877 It's a world in which there is a conformity and a tradition, 643 00:38:13,877 --> 00:38:15,997 a tradition which is underworld. 644 00:38:15,997 --> 00:38:19,277 Johnny is anarchy 645 00:38:19,277 --> 00:38:21,477 and is Jumpin' Jack Flash. 646 00:38:23,717 --> 00:38:25,837 And I knew it had to be in slow motion, 647 00:38:25,837 --> 00:38:27,597 but what we found when I cut to Harvey 648 00:38:27,597 --> 00:38:31,157 and when he put that glass of liquor down, it just worked beautifully 649 00:38:31,157 --> 00:38:33,677 with the music and he moves back to the edge of the bar 650 00:38:33,677 --> 00:38:36,157 and there's a woman sitting there, I don't know who she is, 651 00:38:36,157 --> 00:38:37,677 but she looks like a ghost. 652 00:38:37,677 --> 00:38:41,157 SONG CONTINUES 653 00:38:41,157 --> 00:38:42,837 I guess, basically, you know, 654 00:38:42,837 --> 00:38:44,877 that was the movie, that was the one, 655 00:38:44,877 --> 00:38:46,237 I put it all in there. 656 00:38:47,357 --> 00:38:52,317 And if anyone was ever to wonder what that life was like or... 657 00:38:53,717 --> 00:38:57,717 ..or what that world sounded like and felt like, you know, 658 00:38:57,717 --> 00:39:00,237 they can check out that picture. 659 00:39:02,917 --> 00:39:06,037 Scorsese had proved that a serious, dramatic film 660 00:39:06,037 --> 00:39:08,757 could cut out the composer altogether. 661 00:39:10,597 --> 00:39:14,637 That same year another of this new wave of young directors, 662 00:39:14,637 --> 00:39:18,837 George Lucas, explored his boyhood experiences in American Graffiti 663 00:39:18,837 --> 00:39:20,717 to a soundtrack consisting entirely 664 00:39:20,717 --> 00:39:24,197 of '50s and early '60s pop classics. 665 00:39:27,997 --> 00:39:31,637 But through the '70s, pop music itself was changing, 666 00:39:31,637 --> 00:39:34,397 evolving new styles and genres. 667 00:39:34,397 --> 00:39:37,357 For film producers canny enough to ride this wave, 668 00:39:37,357 --> 00:39:39,477 there was serious money to be made. 669 00:39:40,757 --> 00:39:44,717 In 1977, a film was released that was shot here, in Brooklyn, 670 00:39:44,717 --> 00:39:47,837 and used the latest pop music to tell us about the dreams 671 00:39:47,837 --> 00:39:49,757 and hopes of its characters. 672 00:39:49,757 --> 00:39:52,317 Not a back catalogue of '50s and '60s hits, 673 00:39:52,317 --> 00:39:54,637 but a phenomenon that was sweeping the country 674 00:39:54,637 --> 00:39:57,557 and would burn very brightly, if a little briefly. 675 00:39:57,557 --> 00:40:00,797 Ladies and gentlemen, I give you disco. 676 00:40:02,437 --> 00:40:06,357 MUSIC: "Night Fever", by the Bee Gees 677 00:40:06,357 --> 00:40:10,677 The producers of Saturday Night Fever wanted to build its soundtrack 678 00:40:10,677 --> 00:40:14,757 around six songs that had already been recorded by the Bee Gees. 679 00:40:18,477 --> 00:40:21,557 To provide additional tracks and incidental music, 680 00:40:21,557 --> 00:40:23,317 David Shire was called in. 681 00:40:25,277 --> 00:40:27,157 With a theatre and jazz background, 682 00:40:27,157 --> 00:40:29,357 Shire had written scores for key '70s films 683 00:40:29,357 --> 00:40:31,797 like All The President's Men. 684 00:40:31,797 --> 00:40:35,557 He now had to find a way of working within the disco style. 685 00:40:36,597 --> 00:40:38,437 I guess that's what I liked about disco. 686 00:40:38,437 --> 00:40:40,877 You could take anything, you could take Beethoven, 687 00:40:40,877 --> 00:40:44,477 you could take Rimsky-Korsakov, you could take Mussorgsky, 688 00:40:44,477 --> 00:40:49,357 and just put 120 beats-per-minute to it and a rhythm section, 689 00:40:49,357 --> 00:40:51,837 and it would kind of work. 690 00:40:53,157 --> 00:40:54,717 For this sequence, 691 00:40:54,717 --> 00:40:57,757 Shire adapted a classical piece Night on a Bare Mountain 692 00:40:57,757 --> 00:41:01,357 by the 19th-century Russian composer Modest Mussorgsky. 693 00:41:01,357 --> 00:41:07,117 MUSIC: "Night on a Bare Mountain" by Mussorgsky, adaptation David Shire 694 00:41:12,997 --> 00:41:16,757 Shire gives it a disco twist, which enhances the tune's 695 00:41:16,757 --> 00:41:19,877 and the scene's dizzying, dangerous feel. 696 00:41:19,877 --> 00:41:23,277 MAN SHOUTING 697 00:41:26,717 --> 00:41:33,317 And it turned out to be the most lucrative film job I've ever had. 698 00:41:33,317 --> 00:41:39,117 The least composing but the most rewarding, financially. 699 00:41:40,237 --> 00:41:43,957 The Saturday Night Fever soundtrack sold 15 million copies 700 00:41:43,957 --> 00:41:46,877 and spent six months at number one. 701 00:41:46,877 --> 00:41:50,997 The film itself earned more than 90m at the US Box Office, 702 00:41:50,997 --> 00:41:53,557 a huge sum for the time. 703 00:41:53,557 --> 00:41:56,717 Hollywood studios would now seek to exploit this cash cow, 704 00:41:56,717 --> 00:42:00,477 with an eye firmly on the commercial rather than the artistic 705 00:42:00,477 --> 00:42:02,237 possibilities of pop songs. 706 00:42:03,797 --> 00:42:06,917 In the 1980s, with American cinema ticket sales topping 707 00:42:06,917 --> 00:42:08,037 a billion-a-year, 708 00:42:08,037 --> 00:42:11,877 Hollywood and the pop industry became increasingly co-dependent. 709 00:42:13,037 --> 00:42:16,397 Big budget movies like Top Gun were indiscriminately filled with 710 00:42:16,397 --> 00:42:17,477 pop and rock tracks. 711 00:42:19,717 --> 00:42:23,437 Video were used to market movies on MTV, 712 00:42:23,437 --> 00:42:26,477 while the films were used to promote the artists themselves. 713 00:42:29,077 --> 00:42:31,477 MUSIC: "Take My Breath Away", by Berlin 714 00:42:33,437 --> 00:42:35,717 Against this corporate background, 715 00:42:35,717 --> 00:42:39,797 it would take a director of singular vision to make popular music 716 00:42:39,797 --> 00:42:41,917 mean more than the sum of its lyrics. 717 00:42:44,397 --> 00:42:49,637 MUSIC: "Blue Velvet" by Bobby Vinton 718 00:42:49,637 --> 00:42:54,357 Right from exaggeratedly idyllic opening of Blue Velvet, 719 00:42:54,357 --> 00:42:59,157 David Lynch uses '50s pop songs to create a dream-like atmosphere. 720 00:43:04,877 --> 00:43:08,437 For Lynch, classic pop is like necromancy, 721 00:43:08,437 --> 00:43:10,517 bringing to life a world of strange, 722 00:43:10,517 --> 00:43:14,077 chilling encounters between people on the edge, as in this scene 723 00:43:14,077 --> 00:43:18,237 where the title song is performed by the film's star Isabella Rossellini. 724 00:43:21,717 --> 00:43:27,117 # Blue velvet... # 725 00:43:29,077 --> 00:43:32,717 Here, Lynch's sinister alchemy twists a seemingly innocent 726 00:43:32,717 --> 00:43:36,317 love song to highlight the growing obsession of the film's 727 00:43:36,317 --> 00:43:39,477 protagonist Geoffrey with Rossellini's character. 728 00:43:41,837 --> 00:43:44,717 # ..was the night from the stars... # 729 00:43:46,597 --> 00:43:49,117 To help Rossellini with her vocal performance, 730 00:43:49,117 --> 00:43:54,117 the producers called songwriter and composer Angelo Badalamenti. 731 00:43:54,117 --> 00:43:55,837 And I meet with Isabella. 732 00:43:55,837 --> 00:43:58,237 We work on the song Blue Velvet. 733 00:43:58,237 --> 00:44:00,517 We then record it. 734 00:44:00,517 --> 00:44:02,717 David puts the earphones on, 735 00:44:02,717 --> 00:44:05,037 he listens to the whole thing, 736 00:44:05,037 --> 00:44:07,357 takes the earphones off and he says, 737 00:44:07,357 --> 00:44:09,557 "This is peachy keen. 738 00:44:09,557 --> 00:44:11,117 "That's the ticket." 739 00:44:13,117 --> 00:44:15,317 But that wasn't the end of it. 740 00:44:15,317 --> 00:44:19,317 Lynch wanted to use a track by the band This Mortal Coil in the film, 741 00:44:19,317 --> 00:44:22,837 but the producers couldn't afford to licence it. 742 00:44:22,837 --> 00:44:27,797 Instead, they suggested Badalamenti should write an original song. 743 00:44:27,797 --> 00:44:31,597 So I said, "OK, but I need a lyric. I'm not a lyric writer. 744 00:44:31,597 --> 00:44:36,437 "Why don't you tell your director to write a lyric?" 745 00:44:36,437 --> 00:44:39,237 And I'm recording Isabella now on Blue Velvet, 746 00:44:39,237 --> 00:44:42,157 and she comes in with this little piece of paper, 747 00:44:42,157 --> 00:44:45,437 and on it, on the top, says, "Mysteries of Love." 748 00:44:47,437 --> 00:44:50,117 And I'm reading it, "And sometimes the wind blows, 749 00:44:50,117 --> 00:44:53,277 "and you and I float in the darkness and kiss for ever..." 750 00:44:53,277 --> 00:44:54,317 blah, blah, blah. 751 00:44:55,637 --> 00:44:57,877 I'm thinking, "This is awful." 752 00:44:57,877 --> 00:44:59,837 So, what do I do? I call David and I say, 753 00:44:59,837 --> 00:45:02,837 "David, I'm just curious. What kind of music do you hear for it?" 754 00:45:02,837 --> 00:45:08,277 "Oh, Angelo, just let it float. Make it like the tides of the ocean. 755 00:45:08,277 --> 00:45:11,517 "Make it kind of cosmic and..." No clue, right? 756 00:45:12,557 --> 00:45:15,237 I take the lyric, I put it on the piano... 757 00:45:15,237 --> 00:45:18,437 - I'll play it for you, if you like. - Sure. Please. 758 00:45:18,437 --> 00:45:22,557 # Sometimes a wind blows 759 00:45:25,717 --> 00:45:29,477 # And you and I... 760 00:45:34,197 --> 00:45:38,957 - WOMAN'S VOICE: - # ..float... # 761 00:45:40,237 --> 00:45:45,477 In this scene, the song Mysteries of Love epitomises the purity of love, 762 00:45:45,477 --> 00:45:49,157 not the morbid desire Geoffrey felt for Rossellini's character 763 00:45:49,157 --> 00:45:50,597 when Blue Velvet played. 764 00:45:53,517 --> 00:45:56,397 The lyric forced me to... 765 00:45:56,397 --> 00:45:58,077 Even David's description... 766 00:45:58,077 --> 00:46:02,397 Just something floating and no real times, 767 00:46:02,397 --> 00:46:05,237 no rhymes, no hooks. 768 00:46:05,237 --> 00:46:07,957 # ..And the mysteries of love... # 769 00:46:10,117 --> 00:46:13,797 Lynch had started out wanting to include one pop track in his film 770 00:46:13,797 --> 00:46:17,997 and ended up co-writing a brand-new one but, more importantly, 771 00:46:17,997 --> 00:46:20,317 he'd found himself a musical soul mate. 772 00:46:20,317 --> 00:46:22,877 Angelo Badalamenti has gone on to score pretty much 773 00:46:22,877 --> 00:46:24,797 all of Lynch's films since 774 00:46:24,797 --> 00:46:27,197 and I think there's a reason for that. 775 00:46:27,197 --> 00:46:32,557 His music is the sound of Lynch's world with all its paradoxes. 776 00:46:32,557 --> 00:46:35,957 It's cold but, at the same time, it's very warm. 777 00:46:35,957 --> 00:46:38,757 It's nostalgic and yet it's very, very modern. 778 00:46:38,757 --> 00:46:40,197 And, to be frank, for me, 779 00:46:40,197 --> 00:46:44,837 David Lynch's films couldn't work without Badalamenti's music. 780 00:46:46,757 --> 00:46:52,357 One day in 1989, the pair sat down at Badalamenti's piano 781 00:46:52,357 --> 00:46:53,877 and, in a single take, 782 00:46:53,877 --> 00:46:57,317 wrote the theme for a groundbreaking new television series. 783 00:46:59,237 --> 00:47:02,837 David comes in. "Angelo, now we're really pals." 784 00:47:02,837 --> 00:47:07,877 And he says, "We're in a dark wood." 785 00:47:07,877 --> 00:47:09,437 And I'm going like... 786 00:47:09,437 --> 00:47:11,117 PLAYS MOODY PIANO MUSIC 787 00:47:11,117 --> 00:47:15,197 "No, Angelo, those are beautiful notes but can you do them slower?" 788 00:47:15,197 --> 00:47:16,277 OK. 789 00:47:16,277 --> 00:47:17,917 PLAYS PIANO SLOWER 790 00:47:20,117 --> 00:47:22,357 "No, no, Angelo, slower." 791 00:47:22,357 --> 00:47:24,797 I said, "David, if we do it any slower, 792 00:47:24,797 --> 00:47:26,877 "I'm going to play in reverse." 793 00:47:31,117 --> 00:47:36,717 "OK, Angelo, now there's a girl named Laura Palmer... 794 00:47:36,717 --> 00:47:40,037 "She's a very troubled teenager, 795 00:47:40,037 --> 00:47:43,037 "and she's in the dark woods and she's coming out 796 00:47:43,037 --> 00:47:44,517 "behind some trees. 797 00:47:45,637 --> 00:47:47,437 "She's very beautiful, too. 798 00:47:48,757 --> 00:47:50,837 "Give me something that's her." 799 00:47:50,837 --> 00:47:54,517 SAD PIANO MUSIC PLAYS 800 00:48:00,917 --> 00:48:02,117 "That's it, Angelo. 801 00:48:02,117 --> 00:48:06,437 "Now let it build, cos she's coming closer and she's so troubled. 802 00:48:10,157 --> 00:48:15,357 "She's got tears in her eyes. Angelo, it's so sad. Reach a climax. 803 00:48:18,037 --> 00:48:20,037 "That's it. Just keep it going. 804 00:48:25,637 --> 00:48:29,997 "Beautiful. Beautiful. Now, start coming down 805 00:48:29,997 --> 00:48:35,517 "but fall slowly. Come slowly, slowly down, down. 806 00:48:36,797 --> 00:48:38,797 "That's it. 807 00:48:38,797 --> 00:48:40,197 "That's it. 808 00:48:40,197 --> 00:48:42,277 "Quiet. 809 00:48:42,277 --> 00:48:45,517 "Now, Angelo, go back into the dark woods... 810 00:48:48,437 --> 00:48:51,037 "..and stay there. 811 00:48:51,037 --> 00:48:53,117 "There's an owl in the background." 812 00:48:56,437 --> 00:49:00,237 He said, "Angelo, you just wrote Twin Peaks." 813 00:49:06,037 --> 00:49:08,877 From a starting point in pop, Badalamenti 814 00:49:08,877 --> 00:49:12,077 and Lynch formed a fertile partnership of director 815 00:49:12,077 --> 00:49:15,677 and composer almost unparalleled in contemporary cinema. 816 00:49:18,837 --> 00:49:22,357 But could a truly creative director ever insist, in effect, 817 00:49:22,357 --> 00:49:25,557 that he wouldn't touch a composer with a barge pole? 818 00:49:27,157 --> 00:49:30,877 As a composer, I rather took against Quentin Tarantino, 819 00:49:30,877 --> 00:49:33,037 gifted filmmaker though he is, 820 00:49:33,037 --> 00:49:35,717 when he reportedly said that he doesn't use composers 821 00:49:35,717 --> 00:49:38,437 because he wouldn't trust one with his movies. 822 00:49:38,437 --> 00:49:41,797 But then, maybe it's my prejudices I should be challenging. 823 00:49:41,797 --> 00:49:43,557 Maybe he's right. 824 00:49:43,557 --> 00:49:46,237 Let's see what he gains by not using a composer. 825 00:49:48,317 --> 00:49:52,637 Tarantino's 1992 debut Reservoir Dogs features 826 00:49:52,637 --> 00:49:55,157 a soundtrack solely consisting of old pop 827 00:49:55,157 --> 00:49:58,757 and rock songs that the characters hear on a local radio station. 828 00:50:00,637 --> 00:50:04,317 (RADIO PRESENTER) ..super sounds of the '70s continues. 829 00:50:04,317 --> 00:50:06,637 This embeds the music in the film 830 00:50:06,637 --> 00:50:09,437 and enables the characters to interact with it, 831 00:50:09,437 --> 00:50:11,957 as in this notorious torture scene. 832 00:50:13,037 --> 00:50:19,997 MUSIC: "Stuck In The Middle With You" by Stealers Wheel 833 00:50:23,237 --> 00:50:25,997 By playing the catchy Stuck In The Middle With You, 834 00:50:25,997 --> 00:50:28,197 written by Gerry Rafferty and Joe Egan, 835 00:50:28,197 --> 00:50:33,157 Tarantino lulls the audience into being charmed by Mr Blonde. 836 00:50:33,157 --> 00:50:37,197 Singing along to the song despite the feeling of imminent danger. 837 00:50:37,197 --> 00:50:39,157 # ..Stuck in the middle with you 838 00:50:39,157 --> 00:50:41,957 # Yes I'm stuck in the middle with you... # 839 00:50:41,957 --> 00:50:45,397 Then, when the violence hits, it's all the more shocking. 840 00:50:46,957 --> 00:50:50,397 The violence of Reservoir Dogs divided the audiences and critics, 841 00:50:50,397 --> 00:50:52,237 but its soundtrack was hailed as 842 00:50:52,237 --> 00:50:55,157 one of the finest uses of pop music in a generation. 843 00:50:57,197 --> 00:51:00,317 So, how does Tarantino get round the tricky issue of being 844 00:51:00,317 --> 00:51:02,717 allowed to use someone's music in this way? 845 00:51:04,037 --> 00:51:07,077 Enter music supervisor Karyn Rachtman. 846 00:51:09,277 --> 00:51:13,037 What does a music supervisor do on a movie? 847 00:51:13,037 --> 00:51:17,117 Your job can be as basic as licensing every track, 848 00:51:17,117 --> 00:51:18,717 and just handling the negotiations 849 00:51:18,717 --> 00:51:20,917 and making sure that you take care of all the rights. 850 00:51:20,917 --> 00:51:23,357 What happens if you have to then go and say, 851 00:51:23,357 --> 00:51:25,477 "We may not be able to clear the rights"? 852 00:51:25,477 --> 00:51:26,757 It happens all the time. 853 00:51:26,757 --> 00:51:29,117 85% of the movies I've worked on, 854 00:51:29,117 --> 00:51:31,677 you do not get every song you want. 855 00:51:31,677 --> 00:51:33,037 During Reservoir Dogs, 856 00:51:33,037 --> 00:51:36,997 Quentin, when he wrote that script, he had written in the songs. 857 00:51:36,997 --> 00:51:40,677 Especially with the scene Stuck In The Middle With You, 858 00:51:40,677 --> 00:51:41,917 that was being shot to. 859 00:51:41,917 --> 00:51:45,517 So, he has a music supervisor on the film who told him, 860 00:51:45,517 --> 00:51:48,917 "You can't use any '70s songs." Quentin was devastated. 861 00:51:48,917 --> 00:51:52,277 And I said, "I will get you Stuck In The Middle With You." 862 00:51:57,517 --> 00:52:00,237 And I had to get on the phone with Joe Egan 863 00:52:00,237 --> 00:52:02,317 because I needed him to call the publisher. 864 00:52:02,317 --> 00:52:06,277 He didn't want to do it and I had to reference things like 865 00:52:06,277 --> 00:52:08,597 Singing In The Rain used in Clockwork Orange, 866 00:52:08,597 --> 00:52:10,797 and how we're paying homage to his song, 867 00:52:10,797 --> 00:52:14,317 even though somebody's getting their ear cut off by a sick freak. 868 00:52:14,317 --> 00:52:16,237 You have to tell him the scene, I assume. 869 00:52:16,237 --> 00:52:18,237 You have to tell him the scene. Yeah, of course. 870 00:52:18,237 --> 00:52:20,157 After I got him Stuck In The Middle With You, 871 00:52:20,157 --> 00:52:23,237 Quentin said, "What can I do for you? I appreciate it so much." 872 00:52:23,237 --> 00:52:26,397 And I said, "You can fire your other music supervisor." 873 00:52:27,437 --> 00:52:30,357 Karyn Rachtman worked with Tarantino on his follow-up 874 00:52:30,357 --> 00:52:32,837 to Reservoir Dogs, Pulp Fiction, 875 00:52:32,837 --> 00:52:36,397 which again featured characters interacting with songs. 876 00:52:36,397 --> 00:52:38,477 But he didn't think he was going to put a song 877 00:52:38,477 --> 00:52:40,437 when Bruce Willis was driving in the car 878 00:52:40,437 --> 00:52:42,077 and he said, "Get me a song." 879 00:52:44,717 --> 00:52:47,437 # Flowers on the wall... # 880 00:52:47,437 --> 00:52:49,877 Flowers On The Wall ended up there. 881 00:52:49,877 --> 00:52:51,757 I just guess I was picturing Bruce Willis 882 00:52:51,757 --> 00:52:53,957 singing along to something funny. 883 00:52:53,957 --> 00:52:57,757 With Quentin's movies, the music sometimes let's you go... 884 00:52:57,757 --> 00:53:00,797 EXHALES DEEPLY 885 00:53:04,077 --> 00:53:06,397 But this fun musical sing along is just 886 00:53:06,397 --> 00:53:09,557 a moment of respite before the violence starts again. 887 00:53:11,157 --> 00:53:13,997 Motherfucker. 888 00:53:13,997 --> 00:53:16,197 TYRES SCREECH 889 00:53:20,437 --> 00:53:24,477 Tarantino's more recent films show that his drive to feature 890 00:53:24,477 --> 00:53:28,317 the music he loves doesn't just stop with pop and rock. 891 00:53:28,317 --> 00:53:30,917 He might not want to employ film composers, 892 00:53:30,917 --> 00:53:33,917 but he seems to own plenty of their soundtracks. 893 00:53:33,917 --> 00:53:36,197 Listen to this scene from Kill Bill. 894 00:53:36,197 --> 00:53:39,757 WOMAN WHISTLES 895 00:53:39,757 --> 00:53:41,917 The tune Daryl Hannah is whistling was 896 00:53:41,917 --> 00:53:46,357 written by Bernard Herrmann for the 1968 film Twisted Nerve. 897 00:53:47,717 --> 00:53:49,557 And remember this one? 898 00:53:49,557 --> 00:53:51,717 SPAGHETTI WESTERN MUSIC PLAYS 899 00:53:54,557 --> 00:53:57,077 Ennio Morricone's music for the climactic 900 00:53:57,077 --> 00:53:59,237 shoot-out in A Fistful Of Dollars. 901 00:54:03,437 --> 00:54:06,637 Tarantino, a master of utilising the pop song, 902 00:54:06,637 --> 00:54:08,597 uses composers all right, 903 00:54:08,597 --> 00:54:11,397 but only when their music is already iconic, 904 00:54:11,397 --> 00:54:16,117 revealing the debt even he owes to the history of the movie soundtrack. 905 00:54:18,557 --> 00:54:21,237 When it comes to respecting tradition, 906 00:54:21,237 --> 00:54:24,837 one cinema franchise more than any other requires its composed 907 00:54:24,837 --> 00:54:26,837 to acknowledge its musical heritage. 908 00:54:29,677 --> 00:54:33,517 For Casino Royale, composer David Arnold faced the challenge 909 00:54:33,517 --> 00:54:37,397 rebooting the legacy of John Barry for a contemporary audience, 910 00:54:37,397 --> 00:54:39,837 20 Bond movies on from Dr No. 911 00:54:41,957 --> 00:54:45,117 It was kind of classic back to sort of Barry, 912 00:54:45,117 --> 00:54:47,517 back to basics, the spirit of it. 913 00:54:47,517 --> 00:54:50,677 The wailing brass, the seductive strings, 914 00:54:50,677 --> 00:54:53,037 but knowing it's a different world. 915 00:54:53,037 --> 00:54:57,157 Casino Royale would be the first Bond movie to star Daniel Craig. 916 00:54:58,477 --> 00:55:02,317 Arnold's score had to reflect this tougher and more physical 007. 917 00:55:09,517 --> 00:55:14,517 The music was modelled on Daniel's movement and muscularity. 918 00:55:14,517 --> 00:55:16,557 His attitude, the way he looked... 919 00:55:16,557 --> 00:55:19,117 So, you're actually scoring body language... 920 00:55:19,117 --> 00:55:21,957 Bond's not one for saying an awful lot. 921 00:55:24,997 --> 00:55:27,757 The music is accompanying him moving. 922 00:55:31,757 --> 00:55:35,037 But Casino Royale is also an origin tale, 923 00:55:35,037 --> 00:55:38,957 explaining how Bond becomes a fully-fledged super spy. 924 00:55:38,957 --> 00:55:41,757 This presented Arnold with an interesting opportunity to 925 00:55:41,757 --> 00:55:44,157 work with a classic Bond theme. 926 00:55:44,157 --> 00:55:47,197 He deliberately didn't play the Bond theme during that 927 00:55:47,197 --> 00:55:50,557 film in its entirety until the very end of the picture. 928 00:55:50,557 --> 00:55:51,837 Erm... 929 00:55:51,837 --> 00:55:56,477 because it felt like he wasn't that character yet. 930 00:55:56,477 --> 00:55:58,997 When he wins the DB5 in the game of cards, 931 00:55:58,997 --> 00:56:01,397 the first time you kind of hint at that... 932 00:56:01,397 --> 00:56:02,677 HE HUMS GENTLY 933 00:56:09,997 --> 00:56:11,997 The first time he puts the dinner jacket on. 934 00:56:11,997 --> 00:56:13,997 He gets the tuxedo and he straighten his tie, 935 00:56:13,997 --> 00:56:16,317 and he looks at himself in the mirror and you think, 936 00:56:16,317 --> 00:56:17,837 "OK, that's a bit closer." 937 00:56:21,917 --> 00:56:23,317 SHE LAUGHS 938 00:56:26,237 --> 00:56:28,157 And then ultimately, at the end of the film, 939 00:56:28,157 --> 00:56:30,197 when he says, "The name's Bond - James Bond." 940 00:56:30,197 --> 00:56:32,197 There you are. Hello. 941 00:56:35,237 --> 00:56:38,517 The name's Bond - James Bond. 942 00:56:41,397 --> 00:56:44,877 It's only when these four seconds of black appear that we hear 943 00:56:44,877 --> 00:56:48,837 the Bond theme in full, just in time for the credits to roll. 944 00:56:48,837 --> 00:56:51,557 BOND THEME PLAYS 945 00:56:51,557 --> 00:56:52,797 David's Arnold's music 946 00:56:52,797 --> 00:56:55,477 helped give the Bond franchise a new lease of life. 947 00:57:00,357 --> 00:57:04,477 And, in, 2013, Skyfall, performed and co-written by Adele, 948 00:57:04,477 --> 00:57:07,557 became the first Bond song to win an Academy Award. 949 00:57:09,917 --> 00:57:12,757 # Let the sky fall 950 00:57:12,757 --> 00:57:15,757 # When it crumbles 951 00:57:15,757 --> 00:57:17,437 # We will stand tall... # 952 00:57:17,437 --> 00:57:19,997 The song carries its heritage proudly. 953 00:57:19,997 --> 00:57:21,397 The powerful chorus... 954 00:57:23,237 --> 00:57:25,437 # ..Let the sky fall 955 00:57:25,437 --> 00:57:28,157 # When it crumbles 956 00:57:28,157 --> 00:57:30,557 # We will stand tall... # 957 00:57:32,357 --> 00:57:35,917 The classic Bond chord progression it incorporates... 958 00:57:35,917 --> 00:57:39,397 # ..That sky falls 959 00:57:40,717 --> 00:57:43,757 # That sky falls... # 960 00:57:43,757 --> 00:57:47,197 And, crucially, the careful casting of the performer. 961 00:57:47,197 --> 00:57:52,077 Following a tradition that began with Shirley Bassey and Goldfinger. 962 00:57:52,077 --> 00:57:57,917 I don't think you would necessarily expect to see Adele in a scene 963 00:57:57,917 --> 00:58:01,837 but the sound of her voice says, "This could belong in Bond's world." 964 00:58:06,117 --> 00:58:08,517 Pop may once have been a cinematic upstart, 965 00:58:08,517 --> 00:58:12,557 but now it's so well established it can draw on its own tradition. 966 00:58:12,557 --> 00:58:15,237 Today's audience enjoys films that can move seamlessly 967 00:58:15,237 --> 00:58:18,477 between the orchestral score and the energy of popular music, 968 00:58:18,477 --> 00:58:21,717 making soundtracks more diverse, forceful and relevant. 969 00:58:22,957 --> 00:58:25,757 This has become the modern sound of cinema. 970 00:58:27,917 --> 00:58:31,277 Next time, the film score goes electronic. 971 00:58:31,277 --> 00:58:34,557 How technology pushed the boundaries of the soundtrack. 972 00:58:39,757 --> 00:58:44,517 MUSIC: "Skyfall" by Adele, instrumental arrangement 973 00:58:57,997 --> 00:59:01,037 Subtitles By Red Bee Media Ltd