WEBVTT

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For much of the 20th century, our idea of cinema music was classical,

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symphonic, stately even.

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MUSIC: "Jumpin' Jack Flash" by The Rolling Stones

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But might this also be film music?

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

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- driving the action. 
- # Watch it! #

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MARTIN SCORSESE: 'The music I knew, and the music that scored my life,

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'is the music I heard growing up.

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

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And that was the music that propelled all the action in the story.

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Mean Streets was the most extreme expression yet of how

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popular music had pushed aside the symphonic tradition

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to take hold of the film score.

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As new musical genres like rock, pop and disco were born,

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they reverberated throughout cinema.

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MUSIC: "A Hard Day's Night" by The Beatles

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Popular music revitalised the soundtrack,

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and indeed the movies themselves.

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More distinctive, simpler, more direct, more memorable.

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It was music that appealed to a younger audience.

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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.

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MUSIC: "James Bond Theme" by John Barry Orchestra

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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.

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MUSIC: "Bullitt Theme" by Lalo Schifrin

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'Steve McQueen, he said,'

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"Bullitt is a very simple guy.

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"I want you to write a simple theme."

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It was pop arranger Ennio Morricone who orchestrated this.

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One of the greatest gunfights in cinema.

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Here the characters are choreographed to the music

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in an almost operatic way.

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But pop has also been used for commercial

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rather than creative reasons.

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To help fund and promote big budget movies.

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MUSIC: "Take My Breath Away" by Berlin

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MUSIC: "Misirlou" by Dick Dale

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And when the most influential director of his generation

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decides he can get rid of original scores altogether,

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has the use of popular music in film gone too far?

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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

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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.

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One of them starts almost straightaway.

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Which is kind of Stanley.

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

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- Yes. 
- 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. 
- Please, please. Please do.

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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

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put across any other way.

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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.

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When you add that sound to a scene, there's a real sense of physicality.

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Humanity, if you like.

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Something which you couldn't get out of classical music.

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But which jazz gives you from the first second you hear a note.

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But this is no ordinary love triangle.

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Despite Blanche's attraction to Stanley, it's Stella, his wife,

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with her unavoidable sexual power, who really has a hold over him.

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Stella!

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Hey, Stella!

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North's score in this scene is doing what all great film music does -

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telling us more than we can see.

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And in this case, more than the characters will actually tell us.

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This scene's about desire.

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You can hear in every note of that sax how Stanley feels about Stella.

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And how she feels about him.

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And what binds the two of them together.

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ATMOSPHERIC JAZZ MUSIC

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And that was the problem.

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The Legion Of Decency, a self appointed moral pressure group,

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were very powerful at this time.

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They saw the scene, heard the music and took exception to both.

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The scene had to be cut, and North had to go back and rescore.

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Out went the sax to be replaced by strings.

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EMOTIONAL MUSIC

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Sentimentality took over from sensuality.

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And in the version everybody saw, Stella wanted Stanley back.

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But in North's original, Stella just wanted Stanley.

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Don't ever leave me, baby.

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Through the 1950s, jazz expanded the range of film music in America.

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And drove a wave of gritty dramas whose soundtracks captured

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the moral complexities of the characters and stories.

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MUSIC: "Beat Girl Theme" by John Barry

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Across the Atlantic,

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Britain was producing its own socially aware dramas

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with contemporary scores to match.

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Beat Girl was set in the Soho beat scene.

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And while its moralistic plot was all a bit trad, its music

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harnessed the urgency and energy of jazz-influenced British pop.

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Beat Girl was the debut film score by John Barry -

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a young composer and arranger who'd had several pop hits

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with his own group, The John Barry Seven.

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The band's signature sound was driven by catchy guitar riffs

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and Barry's own trumpet solos.

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Barry's real ambition was to have a career as a pop star.

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And he only landed the Beat Girl job

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because he shared the same manager as the film's star Adam Faith.

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# I diss what you told me... #

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But maybe it was predestined.

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Barry's father had run a cinema chain

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and, as a child, he'd lapped up movies.

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John Barry worked here in Soho - the heart of London's film

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and music industries. Tin Pan Alley.

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He even used a strip club as a rehearsal space for his band,

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The John Barry Seven.

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I think you can hear those influences in the job that he did.

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Arranging and performing the theme to the first James Bond film, Dr No.

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MUSIC: "James Bond Theme" by John Barry Orchestra

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Dr No's opening titles are animated entirely around the rhythm

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of the music - pushing it to the fore.

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We can't ignore the swagger of the guitar

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and the almost sleazy quality of the horns.

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Barry was brought in to arrange this theme from a tune

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written by big band singer Monty Norman.

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I never saw the movie.

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I never met Saltzman and Broccoli. I never met the director.

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I never even read a script. I just knew Bond.

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I think it was in the Daily Mail,

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there was a strip of Bond, which I'd occasionally looked at.

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So I knew what it was about.

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Monty Norman's theme for Dr No was based on a number

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he'd written for musical. And it went like this.

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HE PLAYS DR NO MELODY

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So what John Barry did in his arrangement, was bring to it

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everything he understood about pop and jazz.

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First of all, he kept that melody line but he gave it to

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the twangy guitar that he understood so well

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from The John Barry Seven days.

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Then he added a real driver behind it, which is

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this deep bass brass sound.

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HE PLAYS THEME

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Then he added this fabulous middle eight, which takes the music

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and the film on to a different level.

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HE PLAYS THEME

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That screaming horn section

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has an extraordinary confidence and raciness.

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But it's also deeply pop. It's deeply jazz.

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It's got a wonderful kind of mish-mash of all the things

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that John Barry understood.

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MUSIC: "James Bond Theme" by John Barry Orchestra

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John Barry got paid 250 quid for his arrangement of the Bond theme.

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And it wasn't until he queued up with everybody else to see

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Dr No at the cinema that he realised how ubiquitous his theme was.

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He contacted the producers, saying, "I arranged your opening title

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"music, I didn't expect to hear it sploshed through the whole film.

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"Can I have some more money?"

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They said, "No, but you can score the next one.

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"If there is a next one."

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In fact, Barry went on to score 11 Bond movies.

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And you can hear the difference when he's not just an arranger

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but a fully-fledged composer in his own right.

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MUSIC: "Goldfinger" by Shirley Bassey

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For Goldfinger, Barry drew from his pop contacts,

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casting Shirley Bassey to sing the title song.

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LOUD KISS

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# It's the kiss of death

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# From Mr Goldfinger... #

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From now on, every Bond movie's title number would be

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performed by a leading pop star of the day.

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And the song would help sell the movie.

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# ..His heart is cold

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# He loves only gold... #

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Having firmly established his Goldfinger theme

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in the opening song, Barry runs it

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though a series of symphonic variations throughout the film.

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As when Bond pursues Goldfinger through the Swiss Alps.

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VARIATION ON BOND THEME PLAYS

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And here, Barry seamlessly switches from the original Bond theme

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to the Goldfinger tune.

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MUSIC PLAYS

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He's on the move.

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Although his music's origins are rooted in pop and jazz,

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Barry was also scoring the characters with their own themes -

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in a way traditional Hollywood composers would have understood.

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Barry's success showed how the worlds of film

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and pop music were drawing ever closer together.

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But throughout the '60s, although pop was becoming an ally of film,

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it also threatened to pull young audiences away from the movies,

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overtaking them in popularity.

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MUSIC: "Hard Day's Night" by The Beatles

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So, with a strident guitar chord and an opening shot that captures

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the tidal wave of fan hysteria,

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one film set out directly to embrace the pop phenomenon.

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A Hard Day's Night - the first film to feature The Beatles,

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the world's biggest pop band.

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Nobody had ever seen anything like it before.

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But then that was the idea.

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A young generation could tell straightaway,

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this was a movie aimed directly at them.

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# So why on earth should I moan

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# Cos when I get you alone

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# You know I feel OK... #

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Director Richard Lester faced a unique challenge.

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He had to choose songs which had already been

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recorded by The Beatles before a script had even been written.

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And somehow construct a film that made sense.

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We were given ten songs and I rejected two.

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You sit down,

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given this bag of toys, of wonderful songs,

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and you think,

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"I can't see where this can go."

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The only thing that bound these songs together was the band.

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So Lester looked to the Beatles themselves for ideas about how

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to build his sequences.

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They all had a fairly developed sense of the surreal.

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The first thing I tried to do with the film is to let the audience

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know that things were not going to be a straightforward documentary

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narrative of a day in the life of The Beatles.

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Aye, aye, the Liverpool shuffle.

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In this scene,

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the band magically switch from playing cards to playing a song.

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MUSIC: "When I Get Home" by The Beatles

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# Whoa-whoa I... #

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It was saying to the audience, "You see, life is not as you think it is.

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"There is a surreal quality to them."

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# Can't you see? Can't you see? #

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The whole of Hard Day's Night was starting out of them

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being ordered about in small spaces.

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And no messing about.

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Lennon, put those girls down or I'll tell your mother on you.

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'Being yelled at and being chased by people,

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'and that sudden sense of relief.'

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We're out!

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MUSIC: "Can't Buy Me Love" by The Beatles

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'When they break out and run down a staircase and out into a field.'

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# I'll buy you a diamond ring... #

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CHEERING

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The success of A Hard Day's Night showed how pop music

00:17:02.117 --> 00:17:04.797
could get younger audiences flocking to the cinema.

00:17:12.117 --> 00:17:15.597
Hollywood had also seen how the wind was blowing.

00:17:15.597 --> 00:17:18.196
And leading the way was Walt Disney.

00:17:18.196 --> 00:17:21.077
Looking to appeal to children and parents alike,

00:17:21.077 --> 00:17:25.396
Disney realised his new composers had to be au fait with the pop song.

00:17:25.396 --> 00:17:28.317
He signed up the song-writing duo, brothers Richard

00:17:28.317 --> 00:17:32.597
and Robert Sherman, creators of the smash hit You're Sixteen.

00:17:34.237 --> 00:17:36.317
My dad challenged us to write pop music.

00:17:36.317 --> 00:17:38.437
And we started writing pop songs.

00:17:38.437 --> 00:17:44.277
And we had some big number one hits with rock 'n' roll songs.

00:17:44.277 --> 00:17:48.157
Uncle Walt wanted the brothers to bring their song-writing magic

00:17:48.157 --> 00:17:50.517
to a new Disney movie.

00:17:50.517 --> 00:17:53.677
He said, "You know what a nanny is?" We said, "Oh, yeah, it's a goat.

00:17:53.677 --> 00:17:56.637
"You want to do an animated film about a nanny goat?"

00:17:56.637 --> 00:17:59.197
"No, no, no," he says. "It's an English nursemaid."

00:17:59.197 --> 00:18:00.957
"Oh, yeah, sure. We can..."

00:18:00.957 --> 00:18:03.797
So we read this enchanting series of stories.

00:18:03.797 --> 00:18:07.957
The challenge facing the brothers was not only to compose

00:18:07.957 --> 00:18:12.837
the songs for Mary Poppins, but to construct a story from these books.

00:18:14.397 --> 00:18:17.197
We were reading them with great alarm because we'd say,

00:18:17.197 --> 00:18:20.197
"Well what's the plot? I mean, where is the storyline?"

00:18:20.197 --> 00:18:22.277
It was not a storyline at all.

00:18:22.277 --> 00:18:25.957
It was just wonderful adventures with this magical nanny

00:18:25.957 --> 00:18:29.157
who comes in and does great stuff, and then she leaves.

00:18:29.157 --> 00:18:32.117
So we knew we had to do some quick thinking.

00:18:32.117 --> 00:18:34.637
Let's come in with a storyline.

00:18:34.637 --> 00:18:37.717
MUSIC: "Boiled Beef And Carrots" by Harry Champion

00:18:37.717 --> 00:18:42.757
The brothers fused American pop with a more surprising tradition -

00:18:42.757 --> 00:18:45.677
English music hall.

00:18:45.677 --> 00:18:48.277
# Boiled beef and carrots

00:18:48.277 --> 00:18:49.957
# Boiled beef and carrots... #

00:18:49.957 --> 00:18:52.117
Their passion for these songs would be

00:18:52.117 --> 00:18:54.237
the inspiration behind the film's score.

00:18:54.237 --> 00:18:57.237
With the movie set in Edwardian London.

00:18:57.237 --> 00:19:01.157
I've always been a fan of English music hall.

00:19:01.157 --> 00:19:03.397
Those wonderful old songs. Boiled Beef And Carrots.

00:19:03.397 --> 00:19:05.117
All those things like that.

00:19:05.117 --> 00:19:08.157
Walt bought that right away. He knew what I was talking about.

00:19:08.157 --> 00:19:11.877
We were called in and there were Walt Disney, all of them

00:19:11.877 --> 00:19:15.077
singing Knees Up Mother Brown, kicking their feet up in the air.

00:19:15.077 --> 00:19:16.637
And they were all out of breath.

00:19:16.637 --> 00:19:20.477
And Walt said, "Now, I want you to write me a song like this, right?"

00:19:20.477 --> 00:19:23.117
We said, "Yes, Walt, we'll write you a song like that."

00:19:23.117 --> 00:19:24.757
So we started with...

00:19:24.757 --> 00:19:26.397
# Step in time, step in time

00:19:26.397 --> 00:19:27.797
# Step in time, step in time

00:19:27.797 --> 00:19:29.597
# You never need a reason, never need a rhyme

00:19:29.597 --> 00:19:31.157
# Step in time you step in time... #

00:19:31.157 --> 00:19:32.837
Link your elbows!

00:19:32.837 --> 00:19:34.797
# Link your elbows, step in time

00:19:34.797 --> 00:19:36.397
# Link your elbows, step in time

00:19:36.397 --> 00:19:37.957
# Link your elbows, link your elbows

00:19:37.957 --> 00:19:39.717
# Link your elbows... #

00:19:39.717 --> 00:19:42.437
That little piece went for 12 minutes.

00:19:42.437 --> 00:19:45.597
You know, one of the greatest scenes you've ever seen.

00:19:45.597 --> 00:19:48.917
And the Shermans would mix all the ingredients that make a classic

00:19:48.917 --> 00:19:53.277
pop song - a memorable lyric, a catchy melody and a potent hook -

00:19:53.277 --> 00:19:56.037
to create the film's most-loved tune.

00:19:59.117 --> 00:20:01.397
We came up with this nonsense word,

00:20:01.397 --> 00:20:04.077
which we decided would be a great gift for Mary Poppins

00:20:04.077 --> 00:20:05.677
to give to the children.

00:20:05.677 --> 00:20:07.237
So we said, "Let's give them

00:20:07.237 --> 00:20:09.677
"a really, funny, crazy, obnoxious word."

00:20:09.677 --> 00:20:12.397
And we started, we said, "It's got to be super colossal."

00:20:12.397 --> 00:20:15.917
And super colossal...well, anybody would write super colossal.

00:20:15.917 --> 00:20:18.757
So we said, "Super something, super crazy,

00:20:18.757 --> 00:20:21.037
"super caga...flava...slava...

00:20:21.037 --> 00:20:25.757
"Supercali... supercalifragilistic! A-ha!" And then, we had...

00:20:25.757 --> 00:20:28.557
# Um diddle diddle um diddle ay Um diddle diddle diddle um

00:20:28.557 --> 00:20:31.157
# Because I was afraid to speak When I was just a lad

00:20:31.157 --> 00:20:34.717
# Me father gave me nose a tweak And told me I was bad...

00:20:34.717 --> 00:20:38.237
# But then one day I learned a word That saved me aching nose

00:20:38.237 --> 00:20:41.317
# The biggest word you ever heard And this is how it goes, oh!

00:20:41.317 --> 00:20:44.197
# Supercalifragilisticexpialidocious

00:20:44.197 --> 00:20:47.477
# Even though the sound of it Is something quite atrocious

00:20:47.477 --> 00:20:50.757
# If you say it loud enough You'll always sound precocious

00:20:50.757 --> 00:20:52.877
# Supercalifragilisticexpialidocious

00:20:52.877 --> 00:20:56.357
# Um diddle diddle um diddle ay # Um diddle diddle um diddle ay... #

00:20:56.357 --> 00:21:00.157
These songs earned the Sherman Brothers two Academy Awards.

00:21:00.157 --> 00:21:02.757
# I've reached the top And had to stop

00:21:02.757 --> 00:21:04.757
# And that's what bothering me... #

00:21:04.757 --> 00:21:08.517
Their knack for writing pop tunes would underlay the huge success

00:21:08.517 --> 00:21:11.917
they went on to enjoy with other classic Disney movies,

00:21:11.917 --> 00:21:13.517
like The Jungle Book.

00:21:13.517 --> 00:21:15.997
# ..I'm tired of monkeying around!

00:21:15.997 --> 00:21:17.597
# Oh, oobee doo

00:21:17.597 --> 00:21:20.477
# I wanna be like you

00:21:20.477 --> 00:21:24.037
# I wanna walk like you Talk like you... #

00:21:24.037 --> 00:21:26.597
The Shermans had applied their pop sensibility

00:21:26.597 --> 00:21:30.077
to reinvigorate the animated musical.

00:21:30.077 --> 00:21:33.117
But in Europe, an entirely different film genre

00:21:33.117 --> 00:21:36.797
would unexpectedly be changed by a pop composer.

00:21:39.517 --> 00:21:43.397
This is the opening of A Fistful Of Dollars,

00:21:43.397 --> 00:21:46.877
its bold graphics and striking music a declaration

00:21:46.877 --> 00:21:49.197
that the Spaghetti Western had arrived.

00:21:51.517 --> 00:21:53.957
Italian filmmakers were giving new life

00:21:53.957 --> 00:21:56.077
to one the oldest genres of cinema.

00:21:56.077 --> 00:21:58.117
Written by Ennio Morricone,

00:21:58.117 --> 00:22:00.917
this title theme boasts the kind of elements

00:22:00.917 --> 00:22:03.197
that made his sound so distinctive -

00:22:03.197 --> 00:22:05.077
the melody, the whistles,

00:22:05.077 --> 00:22:07.117
the recording of a whip crack.

00:22:08.837 --> 00:22:10.117
HORSE TROTTING

00:22:10.117 --> 00:22:11.997
GUNSHOTS

00:22:14.237 --> 00:22:17.717
This use of real world sounds came from Morricone's time

00:22:17.717 --> 00:22:20.637
as an arranger of Italian pop records.

00:22:21.877 --> 00:22:24.517
TRANSLATION FROM ITALIAN:

00:22:39.357 --> 00:22:42.837
The music for A Fistful Of Dollars was based on a pop record

00:22:42.837 --> 00:22:46.437
that Morricone had arranged called Pastures Of Plenty,

00:22:46.437 --> 00:22:49.717
which had impressed director Sergio Leone.

00:22:49.717 --> 00:22:51.557
# We come with the dust

00:22:51.557 --> 00:22:54.077
# And we're gone with the wind

00:22:54.077 --> 00:22:59.837
# Oh, oooh, oooh, oooh... #

00:22:59.837 --> 00:23:03.277
Leone and Morricone had been friends since childhood,

00:23:03.277 --> 00:23:06.557
but Leone also knew that the innovation Morricone had shown

00:23:06.557 --> 00:23:09.757
on his pop records could deliver something special

00:23:09.757 --> 00:23:11.357
despite a tight budget.

00:23:13.357 --> 00:23:16.397
Morricone brings his own sensibility to the Western,

00:23:16.397 --> 00:23:20.717
he mixes his kind of idea of '60s music and modern sounds

00:23:20.717 --> 00:23:24.717
and very individualistic sounds with the idea of the Old West,

00:23:24.717 --> 00:23:29.197
the Spanish guitar, the whistle, this sense of folk music.

00:23:29.197 --> 00:23:33.117
And here, he combines this with the 19th-century European device

00:23:33.117 --> 00:23:35.557
of the leitmotif.

00:23:35.557 --> 00:23:39.237
So out of that title music, when we first see Clint Eastwood,

00:23:39.237 --> 00:23:40.917
The Man With No Name,

00:23:40.917 --> 00:23:42.637
he gets his own little motif.

00:23:42.637 --> 00:23:45.597
FLUTE PLAYS

00:23:45.597 --> 00:23:48.037
Just a little flute...

00:23:48.037 --> 00:23:51.717
But then, when he is spotted by the villain, you get this.

00:23:52.997 --> 00:23:55.357
PIANO PLAYS

00:23:55.357 --> 00:23:59.237
And it's got a little bit more of a sense of danger about it.

00:23:59.237 --> 00:24:01.877
PIANO PLAYS

00:24:03.037 --> 00:24:05.717
And above that comes the Japanese flute,

00:24:05.717 --> 00:24:07.357
which to me says, you know,

00:24:07.357 --> 00:24:08.957
Yojimbo, which is the Japanese epic

00:24:08.957 --> 00:24:11.357
on which this film was entirely based.

00:24:11.357 --> 00:24:13.357
So now, Eastwood is a samurai.

00:24:13.357 --> 00:24:15.277
This is what Morricone does,

00:24:15.277 --> 00:24:19.317
he drops these tiny musical ideas into the film throughout,

00:24:19.317 --> 00:24:21.717
giving us a different feel, a different sound each time,

00:24:21.717 --> 00:24:24.517
sometimes very, very short, just a couple of notes.

00:24:28.917 --> 00:24:31.917
Here we have the other great gift that Morricone has,

00:24:31.917 --> 00:24:34.597
a gift for melody, and not just melody,

00:24:34.597 --> 00:24:36.597
a melody that will break your heart.

00:24:36.597 --> 00:24:38.197
MELODY PLAYS

00:24:38.197 --> 00:24:39.877
Get three coffins ready.

00:24:42.797 --> 00:24:44.957
But often, a melody that is placed

00:24:44.957 --> 00:24:49.157
either before or during the most violent moments of these films,

00:24:49.157 --> 00:24:53.117
it gives them an extraordinary texture. Listen to this.

00:24:53.117 --> 00:24:55.877
MELANCHOLIC PIANO PIECE

00:25:05.957 --> 00:25:07.837
MELODY CONTINUES

00:25:16.197 --> 00:25:18.037
It's actually still quite a thin sound,

00:25:18.037 --> 00:25:20.837
it's a single melodic instrument over a string section,

00:25:20.837 --> 00:25:22.277
so it's not full orchestra.

00:25:22.277 --> 00:25:24.037
This is partially because of budget,

00:25:24.037 --> 00:25:27.037
but also because I think Morricone understands

00:25:27.037 --> 00:25:31.397
that we want to hear small textures working under these moments,

00:25:31.397 --> 00:25:34.677
but it really makes us root for Clint Eastwood

00:25:34.677 --> 00:25:38.437
and gives Clint Eastwood's character a soft side

00:25:38.437 --> 00:25:42.277
which is simply not there in the way that he plays it.

00:25:46.557 --> 00:25:48.597
By the time we get to the final shootout,

00:25:48.597 --> 00:25:50.797
that theme of Eastwood's has become huge.

00:25:50.797 --> 00:25:53.317
We now have a trumpet on the lead line,

00:25:53.317 --> 00:25:55.197
very Spanish, beautiful.

00:25:55.197 --> 00:25:58.717
We have strings behind, we have the voices behind,

00:25:58.717 --> 00:26:00.637
so it has an amazing strength.

00:26:00.637 --> 00:26:03.677
FULL MELODY PLAYS

00:26:10.917 --> 00:26:13.357
And we're now in a world of ritual.

00:26:13.357 --> 00:26:17.357
It's as if the music is making the characters choreographed.

00:26:18.757 --> 00:26:22.197
They appear to move in time with the music.

00:26:22.197 --> 00:26:24.957
MELODY INTENSIFIES

00:26:31.957 --> 00:26:34.477
And it gives it that timeless quality,

00:26:34.477 --> 00:26:37.037
but it also gives it an operatic quality -

00:26:37.037 --> 00:26:40.637
this shootout was inevitable from the first moment of the film

00:26:40.637 --> 00:26:44.877
and now the music is giving us the arena within which it can happen.

00:26:52.997 --> 00:26:57.597
Scenes like these placed Morricone in the great tradition of composers

00:26:57.597 --> 00:27:00.317
who shaped not just the sound of a movie,

00:27:00.317 --> 00:27:02.437
but its very construction.

00:27:02.437 --> 00:27:06.037
In these and his subsequent films with director Sergio Leone,

00:27:06.037 --> 00:27:10.117
Morricone was a fully-fledged artistic collaborator

00:27:10.117 --> 00:27:12.317
in creating the cinematic drama.

00:27:16.837 --> 00:27:21.517
The Spaghetti Western established a trend for increasingly violent films

00:27:21.517 --> 00:27:23.677
with almost wordless heroes,

00:27:23.677 --> 00:27:26.997
whose inner nature was expressed through the music.

00:27:29.237 --> 00:27:31.237
This method of scoring characters

00:27:31.237 --> 00:27:33.517
would make its way into American cinema

00:27:33.517 --> 00:27:36.557
through a film shot here, on the West Coast.

00:27:38.677 --> 00:27:42.717
I'm driving through San Francisco, it's a beautiful sunny day.

00:27:42.717 --> 00:27:44.117
And thanks to the movies,

00:27:44.117 --> 00:27:47.517
these are some of the most recognisable streets in the world.

00:27:47.517 --> 00:27:49.237
But there's something missing.

00:27:49.237 --> 00:27:51.157
JAZZ MUSIC PLAYS

00:27:51.157 --> 00:27:52.437
That's more like it.

00:28:01.477 --> 00:28:04.237
This is the soundtrack to the movie Bullitt,

00:28:04.237 --> 00:28:08.157
set in San Francisco and starring Steve McQueen.

00:28:14.197 --> 00:28:16.597
Bullitt was scored by Lalo Schifrin,

00:28:16.597 --> 00:28:18.757
an Argentinian-born composer

00:28:18.757 --> 00:28:22.077
who trained in both classical and jazz music.

00:28:22.077 --> 00:28:24.557
He'd worked in Hollywood since the early '60s

00:28:24.557 --> 00:28:29.317
and was best known for his theme to TV series Mission: Impossible.

00:28:34.037 --> 00:28:38.677
Schifrin had also been mentored by the jazz legend Dizzy Gillespie,

00:28:38.677 --> 00:28:41.077
playing with him in New York in the '50s,

00:28:41.077 --> 00:28:44.317
and he wanted to inject some of those jazz rhythms and beats

00:28:44.317 --> 00:28:46.237
into the soundtrack for Bullitt.

00:28:50.477 --> 00:28:52.837
Like Clint Eastwood's gunslinger,

00:28:52.837 --> 00:28:56.517
Steve McQueen's detective Frank Bullitt rarely speaks,

00:28:56.517 --> 00:28:59.357
but Schifrin's score is his voice.

00:28:59.357 --> 00:29:01.437
Steve McQueen, he said,

00:29:01.437 --> 00:29:03.677
"Bullitt is a very simple guy.

00:29:03.677 --> 00:29:05.997
"I want you to write a simple theme."

00:29:10.357 --> 00:29:12.797
McQueen's charisma is that of an ordinary man

00:29:12.797 --> 00:29:14.917
required to do extraordinary things.

00:29:14.917 --> 00:29:18.677
His almost wordless performance means that we are relying a lot

00:29:18.677 --> 00:29:21.037
on how he looks for that charisma.

00:29:23.077 --> 00:29:26.837
However, Lalo Schifrin's music gives his every moment,

00:29:26.837 --> 00:29:29.597
no matter how mundane, a cool energy.

00:29:35.957 --> 00:29:38.837
Bullitt's most famous sequence is ten minutes long

00:29:38.837 --> 00:29:42.277
and contains no dialogue, but an awful lot of driving.

00:29:42.277 --> 00:29:45.357
What makes it compelling is Lalo Schifrin's score,

00:29:45.357 --> 00:29:48.517
which through a couple of very precise gear changes

00:29:48.517 --> 00:29:50.517
turns a street game of cat and mouse

00:29:50.517 --> 00:29:52.997
into something altogether more deadly.

00:29:56.277 --> 00:29:58.237
Here, Schifrin's music focuses

00:29:58.237 --> 00:30:00.517
on Bullitt's intense concentration

00:30:00.517 --> 00:30:03.877
as he tails a pair of mobsters through the busy streets.

00:30:05.677 --> 00:30:08.597
It is insistent but tightly controlled,

00:30:08.597 --> 00:30:12.237
as we feel the pressure building up for the inevitable chase.

00:30:12.237 --> 00:30:14.637
MUSIC PLAYS

00:30:17.957 --> 00:30:21.237
So what will the score do next?

00:30:21.237 --> 00:30:24.917
'The director, he asked me to write music for the chase.

00:30:24.917 --> 00:30:26.757
'I said, "No."'

00:30:26.757 --> 00:30:28.437
"Why not?"

00:30:28.437 --> 00:30:31.037
"Because you are going to orchestrate the chase

00:30:31.037 --> 00:30:34.357
"with sound effects, you don't need music."

00:30:34.357 --> 00:30:37.757
'When Bullitt is in the car and changes gears,

00:30:37.757 --> 00:30:41.557
'that's when the chase starts and I build music up to that point,

00:30:41.557 --> 00:30:43.397
'and at that moment, stop.'

00:30:43.397 --> 00:30:44.637
MUSIC STOPS

00:30:44.637 --> 00:30:48.477
TYRES SQUEAL

00:30:48.477 --> 00:30:53.397
CAR ENGINE RUMBLES

00:30:53.397 --> 00:30:55.637
And yet people congratulate you

00:30:55.637 --> 00:30:57.837
on your scoring of the chase, I believe.

00:30:57.837 --> 00:31:00.757
Yes, they say, I love the music over the chase."

00:31:00.757 --> 00:31:02.117
And there's no music.

00:31:04.277 --> 00:31:07.077
Three years after Bullitt, Schifrin was invited

00:31:07.077 --> 00:31:09.997
to score another, altogether more violent, thriller

00:31:09.997 --> 00:31:11.397
set in San Francisco.

00:31:15.757 --> 00:31:17.317
And with Dirty Harry,

00:31:17.317 --> 00:31:21.557
director Don Siegel offered Schifrin considerable scope to experiment.

00:31:23.237 --> 00:31:25.477
And he said, "I have a new film," and he said,

00:31:25.477 --> 00:31:27.397
"I want you to write the music for it."

00:31:27.397 --> 00:31:30.197
And he gave me complete freedom.

00:31:30.197 --> 00:31:32.597
He didn't tell me what to do.

00:31:32.597 --> 00:31:36.397
While the dramatic centre of Dirty Harry is Clint Eastwood,

00:31:36.397 --> 00:31:40.317
much of Schifrin's music actually accompanies Scorpio,

00:31:40.317 --> 00:31:42.837
the crazed serial killer he pursues.

00:31:49.597 --> 00:31:53.317
I love, particularly, right from the very start in Dirty Harry,

00:31:53.317 --> 00:31:56.277
the first thing we have is Scorpio up on the roof

00:31:56.277 --> 00:31:58.037
- with his gun trained. 
- Yeah.

00:31:58.037 --> 00:32:01.477
And the music has a terrific power to it.

00:32:01.477 --> 00:32:05.877
TENSE MUSIC PLAYS

00:32:05.877 --> 00:32:08.837
Scorpio came with the idea of voices.

00:32:08.837 --> 00:32:11.757
Very frenetic,

00:32:11.757 --> 00:32:16.437
kind of...hysterical voices.

00:32:17.837 --> 00:32:21.597
Schifrin uses unusual sounds, such as rubbing the rim of a glass,

00:32:21.597 --> 00:32:24.837
to take us inside Scorpio's psychotic mind.

00:32:24.837 --> 00:32:29.437
EERIE MUSIC PLAYS

00:32:34.477 --> 00:32:36.557
There's also a sense that Scorpio

00:32:36.557 --> 00:32:39.157
represents the end of the '60s dream,

00:32:39.157 --> 00:32:41.917
a countercultural figure turned psychopath.

00:32:44.317 --> 00:32:49.077
Schifrin captures that idea in this scene with acid-rock guitar riffs.

00:32:49.077 --> 00:32:51.997
ROCK MUSIC PLAYS

00:32:56.077 --> 00:33:01.717
In Bullitt, I have electric guitar playing jazz or jazz style.

00:33:01.717 --> 00:33:06.717
In...in Dirty Harry, I used, for Scorpio,

00:33:06.717 --> 00:33:11.197
electric guitars playing kind of acid rock

00:33:11.197 --> 00:33:13.757
because I wanted to make a difference.

00:33:13.757 --> 00:33:18.197
ROCK MUSIC PLAYS

00:33:18.197 --> 00:33:20.077
Again, it's unpredictable.

00:33:20.077 --> 00:33:22.557
Yeah, and menacing, a little bit menacing.

00:33:29.797 --> 00:33:33.117
Schifrin had taken the popular-music influenced score

00:33:33.117 --> 00:33:35.037
to a new level of sophistication.

00:33:36.437 --> 00:33:38.997
But he was still working in the classic mould

00:33:38.997 --> 00:33:41.597
of a film composer trusted by the director

00:33:41.597 --> 00:33:44.677
to take charge of how a film sounded.

00:33:44.677 --> 00:33:49.517
But by the 1970s, a new generation of directors was coming into cinema

00:33:49.517 --> 00:33:52.797
who'd grown up with pop music as the soundtrack to their lives

00:33:52.797 --> 00:33:57.117
and wanted to reflect this far more directly in their films.

00:34:03.197 --> 00:34:05.877
In 1973, the greatest of these directors

00:34:05.877 --> 00:34:08.556
began a journey back into his own youth.

00:34:08.556 --> 00:34:11.476
Here, on the streets of New York's Little Italy.

00:34:14.277 --> 00:34:19.237
Martin Scorsese's Mean Streets was a film about the New York Mafia.

00:34:19.237 --> 00:34:21.797
It followed in the wake of The Godfather,

00:34:21.797 --> 00:34:23.797
but concerned small-time criminals

00:34:23.797 --> 00:34:25.996
and drew extensively on

00:34:25.996 --> 00:34:27.637
Scorsese's own memories.

00:34:27.637 --> 00:34:29.877
Scorsese made it on a small budget

00:34:29.877 --> 00:34:33.117
raised independently of the big studios.

00:34:33.117 --> 00:34:35.677
But it meant he had creative control

00:34:35.677 --> 00:34:39.317
and he made the key decision to leave out the composer entirely

00:34:39.317 --> 00:34:43.157
drawing the film soundtrack from his own record collection.

00:34:43.157 --> 00:34:45.437
'It wasn't even a question.'

00:34:45.437 --> 00:34:48.717
I could never have a composer, like Bernard Herrmann or Elmer Bernstein

00:34:48.717 --> 00:34:51.556
or...that was out of the question.

00:34:51.556 --> 00:34:53.917
You know, I knew I was going to make films somehow,

00:34:53.917 --> 00:34:57.157
but when I did, the soundtrack's up to me.

00:34:57.157 --> 00:35:00.157
And the music I knew and the music that scored my life,

00:35:00.157 --> 00:35:01.997
and still does to a certain extent,

00:35:01.997 --> 00:35:04.637
is the music I heard while growing up.

00:35:04.637 --> 00:35:07.717
So music was very, very much part of a expression

00:35:07.717 --> 00:35:10.197
of who you are and how you feel.

00:35:18.037 --> 00:35:19.397
You know, in reality,

00:35:19.397 --> 00:35:22.637
Mean Streets really takes place between '61 and '63,

00:35:22.637 --> 00:35:25.397
even though we shot it in '72.

00:35:25.397 --> 00:35:28.877
There was Phil Spector and there was the Wall Of Sound.

00:35:28.877 --> 00:35:31.437
And that's the sound I hear in my head.

00:35:31.437 --> 00:35:33.877
And that was the music that propelled

00:35:33.877 --> 00:35:35.717
all the action in the story

00:35:35.717 --> 00:35:38.437
and because that's what was playing in the middle of the night

00:35:38.437 --> 00:35:40.397
in those after-hour joints that we were in.

00:35:40.397 --> 00:35:42.637
Cos there were jukeboxes in these places, you see.

00:35:42.637 --> 00:35:45.877
And especially in the summertime, that music would just echo through.

00:35:45.877 --> 00:35:47.677
And when you're living in a tenement area,

00:35:47.677 --> 00:35:51.037
everybody's out and everybody knows what everybody else is doing.

00:35:52.277 --> 00:35:54.077
Right from the pre-title sequence,

00:35:54.077 --> 00:35:56.437
Scorsese used a record he loved

00:35:56.437 --> 00:36:00.677
to accompany the lead character, Charlie, played by Harvey Keitel.

00:36:00.677 --> 00:36:03.157
'I imagined the opening of the picture,

00:36:03.157 --> 00:36:05.997
'he looks at himself in the mirror, wonders who the hell he is'

00:36:05.997 --> 00:36:08.237
and then, he puts his head back on the pillow

00:36:08.237 --> 00:36:11.077
and as we do that, we cut three times into the beat.

00:36:11.077 --> 00:36:14.837
So that was all worked out in my head way, way in advance.

00:36:16.357 --> 00:36:19.277
MUSIC: "Be My Baby," by The Ronettes

00:36:22.597 --> 00:36:24.717
'The first beats of Be My Baby,

00:36:24.717 --> 00:36:27.157
'they just emerged'

00:36:27.157 --> 00:36:29.677
and they're with me all the time.

00:36:30.677 --> 00:36:32.957
So it's...even when I'm on set, it's always...

00:36:32.957 --> 00:36:35.597
HE TAPS THE SONG'S RHYTHM

00:36:35.597 --> 00:36:38.557
And they know, everybody looks at me, "Yeah, OK?"

00:36:38.557 --> 00:36:40.917
And it's just, it's just what I do.

00:36:40.917 --> 00:36:43.437
It's part of, it's become part of my DNA.

00:36:44.637 --> 00:36:47.757
And then, the thing was to go to home movies.

00:36:49.437 --> 00:36:52.397
And then, intercut with actual eight-millimetre films

00:36:52.397 --> 00:36:57.637
that my brother took of his first son's christening, that was 1965.

00:36:57.637 --> 00:37:01.317
- # ..Say you'll be my darling 
- Be my, be my baby

00:37:01.317 --> 00:37:04.277
# Be my baby now

00:37:04.277 --> 00:37:06.277
# Whoa whoa whoa whoa... #

00:37:06.277 --> 00:37:09.397
Mean Streets tells how Charlie's attempts

00:37:09.397 --> 00:37:11.037
to get ahead in the local mafia

00:37:11.037 --> 00:37:12.757
are complicated by Catholic guilt

00:37:12.757 --> 00:37:16.277
and his loyalty to his irresponsible friend Johnny Boy,

00:37:16.277 --> 00:37:18.197
played by Robert De Niro.

00:37:20.517 --> 00:37:22.477
Scorsese carefully makes us wait

00:37:22.477 --> 00:37:25.757
before showing us the two friends together.

00:37:25.757 --> 00:37:27.157
Girls, after you.

00:37:27.157 --> 00:37:30.997
'All right, OK, thanks a lot, Lord, thanks a lot for opening my eyes...'

00:37:30.997 --> 00:37:34.197
Charlie is waiting at the bar for Johnny Boy,

00:37:34.197 --> 00:37:38.077
what could Scorsese possibly do with such an ordinary scene?

00:37:38.077 --> 00:37:39.797
Well, what he does is to pull off

00:37:39.797 --> 00:37:43.517
possibly the greatest musical cue of the whole movie.

00:37:43.517 --> 00:37:47.797
MUSIC: "Jumpin' Jack Flash", by The Rolling Stones

00:37:47.797 --> 00:37:49.717
The music leaps into the foreground

00:37:49.717 --> 00:37:53.237
and, suddenly, Johnny Boy IS Jumpin' Jack Flash

00:37:53.237 --> 00:37:55.397
and he's a gas, gas, gas.

00:37:55.397 --> 00:37:58.077
And we know Charlie can't trust him.

00:37:58.077 --> 00:38:02.517
Look at Charlie's face - he knows Johnny Boy is going to be trouble.

00:38:02.517 --> 00:38:06.837
SONG CONTINUES

00:38:09.077 --> 00:38:13.877
It's a world in which there is a conformity and a tradition,

00:38:13.877 --> 00:38:15.997
a tradition which is underworld.

00:38:15.997 --> 00:38:19.277
Johnny is anarchy

00:38:19.277 --> 00:38:21.477
and is Jumpin' Jack Flash.

00:38:23.717 --> 00:38:25.837
And I knew it had to be in slow motion,

00:38:25.837 --> 00:38:27.597
but what we found when I cut to Harvey

00:38:27.597 --> 00:38:31.157
and when he put that glass of liquor down, it just worked beautifully

00:38:31.157 --> 00:38:33.677
with the music and he moves back to the edge of the bar

00:38:33.677 --> 00:38:36.157
and there's a woman sitting there, I don't know who she is,

00:38:36.157 --> 00:38:37.677
but she looks like a ghost.

00:38:37.677 --> 00:38:41.157
SONG CONTINUES

00:38:41.157 --> 00:38:42.837
I guess, basically, you know,

00:38:42.837 --> 00:38:44.877
that was the movie, that was the one,

00:38:44.877 --> 00:38:46.237
I put it all in there.

00:38:47.357 --> 00:38:52.317
And if anyone was ever to wonder what that life was like or...

00:38:53.717 --> 00:38:57.717
..or what that world sounded like and felt like, you know,

00:38:57.717 --> 00:39:00.237
they can check out that picture.

00:39:02.917 --> 00:39:06.037
Scorsese had proved that a serious, dramatic film

00:39:06.037 --> 00:39:08.757
could cut out the composer altogether.

00:39:10.597 --> 00:39:14.637
That same year another of this new wave of young directors,

00:39:14.637 --> 00:39:18.837
George Lucas, explored his boyhood experiences in American Graffiti

00:39:18.837 --> 00:39:20.717
to a soundtrack consisting entirely

00:39:20.717 --> 00:39:24.197
of '50s and early '60s pop classics.

00:39:27.997 --> 00:39:31.637
But through the '70s, pop music itself was changing,

00:39:31.637 --> 00:39:34.397
evolving new styles and genres.

00:39:34.397 --> 00:39:37.357
For film producers canny enough to ride this wave,

00:39:37.357 --> 00:39:39.477
there was serious money to be made.

00:39:40.757 --> 00:39:44.717
In 1977, a film was released that was shot here, in Brooklyn,

00:39:44.717 --> 00:39:47.837
and used the latest pop music to tell us about the dreams

00:39:47.837 --> 00:39:49.757
and hopes of its characters.

00:39:49.757 --> 00:39:52.317
Not a back catalogue of '50s and '60s hits,

00:39:52.317 --> 00:39:54.637
but a phenomenon that was sweeping the country

00:39:54.637 --> 00:39:57.557
and would burn very brightly, if a little briefly.

00:39:57.557 --> 00:40:00.797
Ladies and gentlemen, I give you disco.

00:40:02.437 --> 00:40:06.357
MUSIC: "Night Fever", by the Bee Gees

00:40:06.357 --> 00:40:10.677
The producers of Saturday Night Fever wanted to build its soundtrack

00:40:10.677 --> 00:40:14.757
around six songs that had already been recorded by the Bee Gees.

00:40:18.477 --> 00:40:21.557
To provide additional tracks and incidental music,

00:40:21.557 --> 00:40:23.317
David Shire was called in.

00:40:25.277 --> 00:40:27.157
With a theatre and jazz background,

00:40:27.157 --> 00:40:29.357
Shire had written scores for key '70s films

00:40:29.357 --> 00:40:31.797
like All The President's Men.

00:40:31.797 --> 00:40:35.557
He now had to find a way of working within the disco style.

00:40:36.597 --> 00:40:38.437
I guess that's what I liked about disco.

00:40:38.437 --> 00:40:40.877
You could take anything, you could take Beethoven,

00:40:40.877 --> 00:40:44.477
you could take Rimsky-Korsakov, you could take Mussorgsky,

00:40:44.477 --> 00:40:49.357
and just put 120 beats-per-minute to it and a rhythm section,

00:40:49.357 --> 00:40:51.837
and it would kind of work.

00:40:53.157 --> 00:40:54.717
For this sequence,

00:40:54.717 --> 00:40:57.757
Shire adapted a classical piece Night on a Bare Mountain

00:40:57.757 --> 00:41:01.357
by the 19th-century Russian composer Modest Mussorgsky.

00:41:01.357 --> 00:41:07.117
MUSIC: "Night on a Bare Mountain" by Mussorgsky, adaptation David Shire

00:41:12.997 --> 00:41:16.757
Shire gives it a disco twist, which enhances the tune's

00:41:16.757 --> 00:41:19.877
and the scene's dizzying, dangerous feel.

00:41:19.877 --> 00:41:23.277
MAN SHOUTING

00:41:26.717 --> 00:41:33.317
And it turned out to be the most lucrative film job I've ever had.

00:41:33.317 --> 00:41:39.117
The least composing but the most rewarding, financially.

00:41:40.237 --> 00:41:43.957
The Saturday Night Fever soundtrack sold 15 million copies

00:41:43.957 --> 00:41:46.877
and spent six months at number one.

00:41:46.877 --> 00:41:50.997
The film itself earned more than 90m at the US Box Office,

00:41:50.997 --> 00:41:53.557
a huge sum for the time.

00:41:53.557 --> 00:41:56.717
Hollywood studios would now seek to exploit this cash cow,

00:41:56.717 --> 00:42:00.477
with an eye firmly on the commercial rather than the artistic

00:42:00.477 --> 00:42:02.237
possibilities of pop songs.

00:42:03.797 --> 00:42:06.917
In the 1980s, with American cinema ticket sales topping

00:42:06.917 --> 00:42:08.037
a billion-a-year,

00:42:08.037 --> 00:42:11.877
Hollywood and the pop industry became increasingly co-dependent.

00:42:13.037 --> 00:42:16.397
Big budget movies like Top Gun were indiscriminately filled with

00:42:16.397 --> 00:42:17.477
pop and rock tracks.

00:42:19.717 --> 00:42:23.437
Video were used to market movies on MTV,

00:42:23.437 --> 00:42:26.477
while the films were used to promote the artists themselves.

00:42:29.077 --> 00:42:31.477
MUSIC: "Take My Breath Away", by Berlin

00:42:33.437 --> 00:42:35.717
Against this corporate background,

00:42:35.717 --> 00:42:39.797
it would take a director of singular vision to make popular music

00:42:39.797 --> 00:42:41.917
mean more than the sum of its lyrics.

00:42:44.397 --> 00:42:49.637
MUSIC: "Blue Velvet" by Bobby Vinton

00:42:49.637 --> 00:42:54.357
Right from exaggeratedly idyllic opening of Blue Velvet,

00:42:54.357 --> 00:42:59.157
David Lynch uses '50s pop songs to create a dream-like atmosphere.

00:43:04.877 --> 00:43:08.437
For Lynch, classic pop is like necromancy,

00:43:08.437 --> 00:43:10.517
bringing to life a world of strange,

00:43:10.517 --> 00:43:14.077
chilling encounters between people on the edge, as in this scene

00:43:14.077 --> 00:43:18.237
where the title song is performed by the film's star Isabella Rossellini.

00:43:21.717 --> 00:43:27.117
# Blue velvet... #

00:43:29.077 --> 00:43:32.717
Here, Lynch's sinister alchemy twists a seemingly innocent

00:43:32.717 --> 00:43:36.317
love song to highlight the growing obsession of the film's

00:43:36.317 --> 00:43:39.477
protagonist Geoffrey with Rossellini's character.

00:43:41.837 --> 00:43:44.717
# ..was the night from the stars... #

00:43:46.597 --> 00:43:49.117
To help Rossellini with her vocal performance,

00:43:49.117 --> 00:43:54.117
the producers called songwriter and composer Angelo Badalamenti.

00:43:54.117 --> 00:43:55.837
And I meet with Isabella.

00:43:55.837 --> 00:43:58.237
We work on the song Blue Velvet.

00:43:58.237 --> 00:44:00.517
We then record it.

00:44:00.517 --> 00:44:02.717
David puts the earphones on,

00:44:02.717 --> 00:44:05.037
he listens to the whole thing,

00:44:05.037 --> 00:44:07.357
takes the earphones off and he says,

00:44:07.357 --> 00:44:09.557
"This is peachy keen.

00:44:09.557 --> 00:44:11.117
"That's the ticket."

00:44:13.117 --> 00:44:15.317
But that wasn't the end of it.

00:44:15.317 --> 00:44:19.317
Lynch wanted to use a track by the band This Mortal Coil in the film,

00:44:19.317 --> 00:44:22.837
but the producers couldn't afford to licence it.

00:44:22.837 --> 00:44:27.797
Instead, they suggested Badalamenti should write an original song.

00:44:27.797 --> 00:44:31.597
So I said, "OK, but I need a lyric. I'm not a lyric writer.

00:44:31.597 --> 00:44:36.437
"Why don't you tell your director to write a lyric?"

00:44:36.437 --> 00:44:39.237
And I'm recording Isabella now on Blue Velvet,

00:44:39.237 --> 00:44:42.157
and she comes in with this little piece of paper,

00:44:42.157 --> 00:44:45.437
and on it, on the top, says, "Mysteries of Love."

00:44:47.437 --> 00:44:50.117
And I'm reading it, "And sometimes the wind blows,

00:44:50.117 --> 00:44:53.277
"and you and I float in the darkness and kiss for ever..."

00:44:53.277 --> 00:44:54.317
blah, blah, blah.

00:44:55.637 --> 00:44:57.877
I'm thinking, "This is awful."

00:44:57.877 --> 00:44:59.837
So, what do I do? I call David and I say,

00:44:59.837 --> 00:45:02.837
"David, I'm just curious. What kind of music do you hear for it?"

00:45:02.837 --> 00:45:08.277
"Oh, Angelo, just let it float. Make it like the tides of the ocean.

00:45:08.277 --> 00:45:11.517
"Make it kind of cosmic and..." No clue, right?

00:45:12.557 --> 00:45:15.237
I take the lyric, I put it on the piano...

00:45:15.237 --> 00:45:18.437
- I'll play it for you, if you like. 
- Sure. Please.

00:45:18.437 --> 00:45:22.557
# Sometimes a wind blows

00:45:25.717 --> 00:45:29.477
# And you and I...

00:45:34.197 --> 00:45:38.957
- WOMAN'S VOICE: 
- # ..float... #

00:45:40.237 --> 00:45:45.477
In this scene, the song Mysteries of Love epitomises the purity of love,

00:45:45.477 --> 00:45:49.157
not the morbid desire Geoffrey felt for Rossellini's character

00:45:49.157 --> 00:45:50.597
when Blue Velvet played.

00:45:53.517 --> 00:45:56.397
The lyric forced me to...

00:45:56.397 --> 00:45:58.077
Even David's description...

00:45:58.077 --> 00:46:02.397
Just something floating and no real times,

00:46:02.397 --> 00:46:05.237
no rhymes, no hooks.

00:46:05.237 --> 00:46:07.957
# ..And the mysteries of love... #

00:46:10.117 --> 00:46:13.797
Lynch had started out wanting to include one pop track in his film

00:46:13.797 --> 00:46:17.997
and ended up co-writing a brand-new one but, more importantly,

00:46:17.997 --> 00:46:20.317
he'd found himself a musical soul mate.

00:46:20.317 --> 00:46:22.877
Angelo Badalamenti has gone on to score pretty much

00:46:22.877 --> 00:46:24.797
all of Lynch's films since

00:46:24.797 --> 00:46:27.197
and I think there's a reason for that.

00:46:27.197 --> 00:46:32.557
His music is the sound of Lynch's world with all its paradoxes.

00:46:32.557 --> 00:46:35.957
It's cold but, at the same time, it's very warm.

00:46:35.957 --> 00:46:38.757
It's nostalgic and yet it's very, very modern.

00:46:38.757 --> 00:46:40.197
And, to be frank, for me,

00:46:40.197 --> 00:46:44.837
David Lynch's films couldn't work without Badalamenti's music.

00:46:46.757 --> 00:46:52.357
One day in 1989, the pair sat down at Badalamenti's piano

00:46:52.357 --> 00:46:53.877
and, in a single take,

00:46:53.877 --> 00:46:57.317
wrote the theme for a groundbreaking new television series.

00:46:59.237 --> 00:47:02.837
David comes in. "Angelo, now we're really pals."

00:47:02.837 --> 00:47:07.877
And he says, "We're in a dark wood."

00:47:07.877 --> 00:47:09.437
And I'm going like...

00:47:09.437 --> 00:47:11.117
PLAYS MOODY PIANO MUSIC

00:47:11.117 --> 00:47:15.197
"No, Angelo, those are beautiful notes but can you do them slower?"

00:47:15.197 --> 00:47:16.277
OK.

00:47:16.277 --> 00:47:17.917
PLAYS PIANO SLOWER

00:47:20.117 --> 00:47:22.357
"No, no, Angelo, slower."

00:47:22.357 --> 00:47:24.797
I said, "David, if we do it any slower,

00:47:24.797 --> 00:47:26.877
"I'm going to play in reverse."

00:47:31.117 --> 00:47:36.717
"OK, Angelo, now there's a girl named Laura Palmer...

00:47:36.717 --> 00:47:40.037
"She's a very troubled teenager,

00:47:40.037 --> 00:47:43.037
"and she's in the dark woods and she's coming out

00:47:43.037 --> 00:47:44.517
"behind some trees.

00:47:45.637 --> 00:47:47.437
"She's very beautiful, too.

00:47:48.757 --> 00:47:50.837
"Give me something that's her."

00:47:50.837 --> 00:47:54.517
SAD PIANO MUSIC PLAYS

00:48:00.917 --> 00:48:02.117
"That's it, Angelo.

00:48:02.117 --> 00:48:06.437
"Now let it build, cos she's coming closer and she's so troubled.

00:48:10.157 --> 00:48:15.357
"She's got tears in her eyes. Angelo, it's so sad. Reach a climax.

00:48:18.037 --> 00:48:20.037
"That's it. Just keep it going.

00:48:25.637 --> 00:48:29.997
"Beautiful. Beautiful. Now, start coming down

00:48:29.997 --> 00:48:35.517
"but fall slowly. Come slowly, slowly down, down.

00:48:36.797 --> 00:48:38.797
"That's it.

00:48:38.797 --> 00:48:40.197
"That's it.

00:48:40.197 --> 00:48:42.277
"Quiet.

00:48:42.277 --> 00:48:45.517
"Now, Angelo, go back into the dark woods...

00:48:48.437 --> 00:48:51.037
"..and stay there.

00:48:51.037 --> 00:48:53.117
"There's an owl in the background."

00:48:56.437 --> 00:49:00.237
He said, "Angelo, you just wrote Twin Peaks."

00:49:06.037 --> 00:49:08.877
From a starting point in pop, Badalamenti

00:49:08.877 --> 00:49:12.077
and Lynch formed a fertile partnership of director

00:49:12.077 --> 00:49:15.677
and composer almost unparalleled in contemporary cinema.

00:49:18.837 --> 00:49:22.357
But could a truly creative director ever insist, in effect,

00:49:22.357 --> 00:49:25.557
that he wouldn't touch a composer with a barge pole?

00:49:27.157 --> 00:49:30.877
As a composer, I rather took against Quentin Tarantino,

00:49:30.877 --> 00:49:33.037
gifted filmmaker though he is,

00:49:33.037 --> 00:49:35.717
when he reportedly said that he doesn't use composers

00:49:35.717 --> 00:49:38.437
because he wouldn't trust one with his movies.

00:49:38.437 --> 00:49:41.797
But then, maybe it's my prejudices I should be challenging.

00:49:41.797 --> 00:49:43.557
Maybe he's right.

00:49:43.557 --> 00:49:46.237
Let's see what he gains by not using a composer.

00:49:48.317 --> 00:49:52.637
Tarantino's 1992 debut Reservoir Dogs features

00:49:52.637 --> 00:49:55.157
a soundtrack solely consisting of old pop

00:49:55.157 --> 00:49:58.757
and rock songs that the characters hear on a local radio station.

00:50:00.637 --> 00:50:04.317
(RADIO PRESENTER) ..super sounds of the '70s continues.

00:50:04.317 --> 00:50:06.637
This embeds the music in the film

00:50:06.637 --> 00:50:09.437
and enables the characters to interact with it,

00:50:09.437 --> 00:50:11.957
as in this notorious torture scene.

00:50:13.037 --> 00:50:19.997
MUSIC: "Stuck In The Middle With You" by Stealers Wheel

00:50:23.237 --> 00:50:25.997
By playing the catchy Stuck In The Middle With You,

00:50:25.997 --> 00:50:28.197
written by Gerry Rafferty and Joe Egan,

00:50:28.197 --> 00:50:33.157
Tarantino lulls the audience into being charmed by Mr Blonde.

00:50:33.157 --> 00:50:37.197
Singing along to the song despite the feeling of imminent danger.

00:50:37.197 --> 00:50:39.157
# ..Stuck in the middle with you

00:50:39.157 --> 00:50:41.957
# Yes I'm stuck in the middle with you... #

00:50:41.957 --> 00:50:45.397
Then, when the violence hits, it's all the more shocking.

00:50:46.957 --> 00:50:50.397
The violence of Reservoir Dogs divided the audiences and critics,

00:50:50.397 --> 00:50:52.237
but its soundtrack was hailed as

00:50:52.237 --> 00:50:55.157
one of the finest uses of pop music in a generation.

00:50:57.197 --> 00:51:00.317
So, how does Tarantino get round the tricky issue of being

00:51:00.317 --> 00:51:02.717
allowed to use someone's music in this way?

00:51:04.037 --> 00:51:07.077
Enter music supervisor Karyn Rachtman.

00:51:09.277 --> 00:51:13.037
What does a music supervisor do on a movie?

00:51:13.037 --> 00:51:17.117
Your job can be as basic as licensing every track,

00:51:17.117 --> 00:51:18.717
and just handling the negotiations

00:51:18.717 --> 00:51:20.917
and making sure that you take care of all the rights.

00:51:20.917 --> 00:51:23.357
What happens if you have to then go and say,

00:51:23.357 --> 00:51:25.477
"We may not be able to clear the rights"?

00:51:25.477 --> 00:51:26.757
It happens all the time.

00:51:26.757 --> 00:51:29.117
85% of the movies I've worked on,

00:51:29.117 --> 00:51:31.677
you do not get every song you want.

00:51:31.677 --> 00:51:33.037
During Reservoir Dogs,

00:51:33.037 --> 00:51:36.997
Quentin, when he wrote that script, he had written in the songs.

00:51:36.997 --> 00:51:40.677
Especially with the scene Stuck In The Middle With You,

00:51:40.677 --> 00:51:41.917
that was being shot to.

00:51:41.917 --> 00:51:45.517
So, he has a music supervisor on the film who told him,

00:51:45.517 --> 00:51:48.917
"You can't use any '70s songs." Quentin was devastated.

00:51:48.917 --> 00:51:52.277
And I said, "I will get you Stuck In The Middle With You."

00:51:57.517 --> 00:52:00.237
And I had to get on the phone with Joe Egan

00:52:00.237 --> 00:52:02.317
because I needed him to call the publisher.

00:52:02.317 --> 00:52:06.277
He didn't want to do it and I had to reference things like

00:52:06.277 --> 00:52:08.597
Singing In The Rain used in Clockwork Orange,

00:52:08.597 --> 00:52:10.797
and how we're paying homage to his song,

00:52:10.797 --> 00:52:14.317
even though somebody's getting their ear cut off by a sick freak.

00:52:14.317 --> 00:52:16.237
You have to tell him the scene, I assume.

00:52:16.237 --> 00:52:18.237
You have to tell him the scene. Yeah, of course.

00:52:18.237 --> 00:52:20.157
After I got him Stuck In The Middle With You,

00:52:20.157 --> 00:52:23.237
Quentin said, "What can I do for you? I appreciate it so much."

00:52:23.237 --> 00:52:26.397
And I said, "You can fire your other music supervisor."

00:52:27.437 --> 00:52:30.357
Karyn Rachtman worked with Tarantino on his follow-up

00:52:30.357 --> 00:52:32.837
to Reservoir Dogs, Pulp Fiction,

00:52:32.837 --> 00:52:36.397
which again featured characters interacting with songs.

00:52:36.397 --> 00:52:38.477
But he didn't think he was going to put a song

00:52:38.477 --> 00:52:40.437
when Bruce Willis was driving in the car

00:52:40.437 --> 00:52:42.077
and he said, "Get me a song."

00:52:44.717 --> 00:52:47.437
# Flowers on the wall... #

00:52:47.437 --> 00:52:49.877
Flowers On The Wall ended up there.

00:52:49.877 --> 00:52:51.757
I just guess I was picturing Bruce Willis

00:52:51.757 --> 00:52:53.957
singing along to something funny.

00:52:53.957 --> 00:52:57.757
With Quentin's movies, the music sometimes let's you go...

00:52:57.757 --> 00:53:00.797
EXHALES DEEPLY

00:53:04.077 --> 00:53:06.397
But this fun musical sing along is just

00:53:06.397 --> 00:53:09.557
a moment of respite before the violence starts again.

00:53:11.157 --> 00:53:13.997
Motherfucker.

00:53:13.997 --> 00:53:16.197
TYRES SCREECH

00:53:20.437 --> 00:53:24.477
Tarantino's more recent films show that his drive to feature

00:53:24.477 --> 00:53:28.317
the music he loves doesn't just stop with pop and rock.

00:53:28.317 --> 00:53:30.917
He might not want to employ film composers,

00:53:30.917 --> 00:53:33.917
but he seems to own plenty of their soundtracks.

00:53:33.917 --> 00:53:36.197
Listen to this scene from Kill Bill.

00:53:36.197 --> 00:53:39.757
WOMAN WHISTLES

00:53:39.757 --> 00:53:41.917
The tune Daryl Hannah is whistling was

00:53:41.917 --> 00:53:46.357
written by Bernard Herrmann for the 1968 film Twisted Nerve.

00:53:47.717 --> 00:53:49.557
And remember this one?

00:53:49.557 --> 00:53:51.717
SPAGHETTI WESTERN MUSIC PLAYS

00:53:54.557 --> 00:53:57.077
Ennio Morricone's music for the climactic

00:53:57.077 --> 00:53:59.237
shoot-out in A Fistful Of Dollars.

00:54:03.437 --> 00:54:06.637
Tarantino, a master of utilising the pop song,

00:54:06.637 --> 00:54:08.597
uses composers all right,

00:54:08.597 --> 00:54:11.397
but only when their music is already iconic,

00:54:11.397 --> 00:54:16.117
revealing the debt even he owes to the history of the movie soundtrack.

00:54:18.557 --> 00:54:21.237
When it comes to respecting tradition,

00:54:21.237 --> 00:54:24.837
one cinema franchise more than any other requires its composed

00:54:24.837 --> 00:54:26.837
to acknowledge its musical heritage.

00:54:29.677 --> 00:54:33.517
For Casino Royale, composer David Arnold faced the challenge

00:54:33.517 --> 00:54:37.397
rebooting the legacy of John Barry for a contemporary audience,

00:54:37.397 --> 00:54:39.837
20 Bond movies on from Dr No.

00:54:41.957 --> 00:54:45.117
It was kind of classic back to sort of Barry,

00:54:45.117 --> 00:54:47.517
back to basics, the spirit of it.

00:54:47.517 --> 00:54:50.677
The wailing brass, the seductive strings,

00:54:50.677 --> 00:54:53.037
but knowing it's a different world.

00:54:53.037 --> 00:54:57.157
Casino Royale would be the first Bond movie to star Daniel Craig.

00:54:58.477 --> 00:55:02.317
Arnold's score had to reflect this tougher and more physical 007.

00:55:09.517 --> 00:55:14.517
The music was modelled on Daniel's movement and muscularity.

00:55:14.517 --> 00:55:16.557
His attitude, the way he looked...

00:55:16.557 --> 00:55:19.117
So, you're actually scoring body language...

00:55:19.117 --> 00:55:21.957
Bond's not one for saying an awful lot.

00:55:24.997 --> 00:55:27.757
The music is accompanying him moving.

00:55:31.757 --> 00:55:35.037
But Casino Royale is also an origin tale,

00:55:35.037 --> 00:55:38.957
explaining how Bond becomes a fully-fledged super spy.

00:55:38.957 --> 00:55:41.757
This presented Arnold with an interesting opportunity to

00:55:41.757 --> 00:55:44.157
work with a classic Bond theme.

00:55:44.157 --> 00:55:47.197
He deliberately didn't play the Bond theme during that

00:55:47.197 --> 00:55:50.557
film in its entirety until the very end of the picture.

00:55:50.557 --> 00:55:51.837
Erm...

00:55:51.837 --> 00:55:56.477
because it felt like he wasn't that character yet.

00:55:56.477 --> 00:55:58.997
When he wins the DB5 in the game of cards,

00:55:58.997 --> 00:56:01.397
the first time you kind of hint at that...

00:56:01.397 --> 00:56:02.677
HE HUMS GENTLY

00:56:09.997 --> 00:56:11.997
The first time he puts the dinner jacket on.

00:56:11.997 --> 00:56:13.997
He gets the tuxedo and he straighten his tie,

00:56:13.997 --> 00:56:16.317
and he looks at himself in the mirror and you think,

00:56:16.317 --> 00:56:17.837
"OK, that's a bit closer."

00:56:21.917 --> 00:56:23.317
SHE LAUGHS

00:56:26.237 --> 00:56:28.157
And then ultimately, at the end of the film,

00:56:28.157 --> 00:56:30.197
when he says, "The name's Bond - James Bond."

00:56:30.197 --> 00:56:32.197
There you are. Hello.

00:56:35.237 --> 00:56:38.517
The name's Bond - James Bond.

00:56:41.397 --> 00:56:44.877
It's only when these four seconds of black appear that we hear

00:56:44.877 --> 00:56:48.837
the Bond theme in full, just in time for the credits to roll.

00:56:48.837 --> 00:56:51.557
BOND THEME PLAYS

00:56:51.557 --> 00:56:52.797
David's Arnold's music

00:56:52.797 --> 00:56:55.477
helped give the Bond franchise a new lease of life.

00:57:00.357 --> 00:57:04.477
And, in, 2013, Skyfall, performed and co-written by Adele,

00:57:04.477 --> 00:57:07.557
became the first Bond song to win an Academy Award.

00:57:09.917 --> 00:57:12.757
# Let the sky fall

00:57:12.757 --> 00:57:15.757
# When it crumbles

00:57:15.757 --> 00:57:17.437
# We will stand tall... #

00:57:17.437 --> 00:57:19.997
The song carries its heritage proudly.

00:57:19.997 --> 00:57:21.397
The powerful chorus...

00:57:23.237 --> 00:57:25.437
# ..Let the sky fall

00:57:25.437 --> 00:57:28.157
# When it crumbles

00:57:28.157 --> 00:57:30.557
# We will stand tall... #

00:57:32.357 --> 00:57:35.917
The classic Bond chord progression it incorporates...

00:57:35.917 --> 00:57:39.397
# ..That sky falls

00:57:40.717 --> 00:57:43.757
# That sky falls... #

00:57:43.757 --> 00:57:47.197
And, crucially, the careful casting of the performer.

00:57:47.197 --> 00:57:52.077
Following a tradition that began with Shirley Bassey and Goldfinger.

00:57:52.077 --> 00:57:57.917
I don't think you would necessarily expect to see Adele in a scene

00:57:57.917 --> 00:58:01.837
but the sound of her voice says, "This could belong in Bond's world."

00:58:06.117 --> 00:58:08.517
Pop may once have been a cinematic upstart,

00:58:08.517 --> 00:58:12.557
but now it's so well established it can draw on its own tradition.

00:58:12.557 --> 00:58:15.237
Today's audience enjoys films that can move seamlessly

00:58:15.237 --> 00:58:18.477
between the orchestral score and the energy of popular music,

00:58:18.477 --> 00:58:21.717
making soundtracks more diverse, forceful and relevant.

00:58:22.957 --> 00:58:25.757
This has become the modern sound of cinema.

00:58:27.917 --> 00:58:31.277
Next time, the film score goes electronic.

00:58:31.277 --> 00:58:34.557
How technology pushed the boundaries of the soundtrack.

00:58:39.757 --> 00:58:44.517
MUSIC: "Skyfall" by Adele, instrumental arrangement

00:58:57.997 --> 00:59:01.037
Subtitles By Red Bee Media Ltd