Score: A Film Music Documentary Page #4

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["GUNMAN" THEME MUSIC]

I think we cracked the puzzle

on this pretty quick.

[BURLINGAME] As film grew

up, in terms of the subject

that they were tackling

and what the filmmakers

themselves were seeking,

film music itself changed.

It became more modern in style.

It embraced jazz.

["A STREETCAR NAMED DESIRE"

THEME MUSIC PLAYS]

"A Streetcar Named Desire"

was Alex North's first film score.

And he comes in with a history

of having written ballets

and concert works in New York

and tackles his first

film assignment,

and writes the most revolutionary

score of all time.

["A STREETCAR NAMED DESIRE"

THEME MUSIC CONTINUES]

[TOWNSON] The first film

score incorporating jazz

in the writing structure.

Jerry Goldsmith said when he heard

the score for the first time,

he knew that film

music had changed

and would never be the same.

["PINK PANTHER"

THEME MUSIC PLAYS]

Bond. James Bond.

[RICHARD KRAFT] John Barry

came from his own band,

performing music that sounded

like early James Bond music.

[THE JOHN BARRY SEVEN, "HI AND MISS" MUSIC PLAYS]

[KRAFT] By the time

he wrote James Bond music,

he was bringing a band

sensibility to movies.

[JAMES BOND THEME MUSIC PLAYS]

Thing about big band

music, it was cool.

And it swung.

[DAVID ARNOLD] Felt like this

was a guy who could do anything.

You will not hear any film, which is to do

with spying or secret services

without a reference to Bond.

I mean, it's become

the thing to go to,

in the same way that Morricone

was for spaghetti westerns.

["THE GOOD, THE BAD AND THE UGLY"

THEME MUSIC PLAYS]

[BECK] Ennio Morricone.

He's not going to hit

you with music

that makes you go, "Whoa,

what is that instrument?

Whoa, how did he make

that sound?"

But what he will do is just

kill you with a melody.

[THEME MUSIC CONTINUES]

[DOREEN RINGER ROSS]

"The Good, The Bad and The Ugly"

is such an iconic

piece of music.

You know, he just took

that sound of the guitar

and just put it

into that western environment.

[THEME MUSIC CONTINUES]

[HOLKENBORG] That is the sound of,

you know, spaghetti westerns,

still, 50, 60 years

after the fact.

And I think that's quite

an achievement.

By the 1960s, you had

this great period,

where you had incredibly

well-trained musicians.

[BURLINGAME] Bernard Herrmann

had come out of dramatic radio.

And his ability to take a sound,

and create a specific

kind of unique orchestra

that was specific to each film

was groundbreaking.

(["VERTIGO" THEME MUSIC)

[YOUNG] The main

title from Vertigo,

that is the textbook

perfect example

of the score that says "Mystery,

something's not right here."

Stay away, but please come.

Come running."

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