96 Moving Images: Making Movies, Understanding Media
Alfred Hitchcock, Henry Mancini and Blake Edwards, John Williams and
Steven Spielberg, Mark Mothersbaugh and Wes Anderson, Danny Elfman
and Tim Burton, or Joe Hisaishi and Hayao Miyazaki.
It is also important to note the eff ect of music on continuity and pace.
Music greatly infl uences the quality of continuity of a fi lm and can help
tremendously in smoothing out rough edges or putting accent marks on
visual cues in the fi lm’s continuity. Additionally, music can have a tremendous
eff ect on the tempo of a fi lm. In particular, the addition of music to the
scene can give the impression of enhancing the speed of a scene without
a single frame cut from the picture, thus adding to its energy and possible
emotional impact.
Songs in the Scene
When refl ecting on the use of music in fi lm, there is a key question to consider:
is the music heard or created by the people on the screen, or is it not? If the
music is actually present during the scene, such as played on a radio or actually
performed by the characters, it is useful and oft en necessary to determine or
create the actual tracks in advance. In fact, the fi rst famous sound fi lm, Th e
Jazz Singer, was a musical, and one of the most signifi cant uses of music in
fi lms is in the integration of musical performance and dance in such fi lms
as On the Town, Th e Band Wagon, Funny Face, Th e Sound of Music, Pride &
Prejudice, Dreamgirls, and Sweeney Todd, among many others.
Th e choice of previously recorded music is the other primary musical
possibility available to fi lmmakers. In contemporary cinema, the most
obvious example is the use of popular songs. Filmmakers frequently began
to embed contemporary songs into the soundtrack of fi lms commonly by the
Figure 3-15 The
collaborative process in
the recording studio: at the
podium, actress and singer
Julie Andrews, composer
Henry Mancini, director
Blake Edwards. (Courtesy of
Th e Henry Mancini Estate)
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