Filmmakers and Blockbusters (PDF)

November 19 Part 2 The Rise of the Blockbuster and a New Generation of Filmmakers The 1970s saw a significant development in film, with many movies adopting a more gritty, realistic, pessimistic, and cynical tone, often accompanied by musical features such as irony and the use...

November 19 Part 2 The Rise of the Blockbuster and a New Generation of Filmmakers The 1970s saw a significant development in film, with many movies adopting a more gritty, realistic, pessimistic, and cynical tone, often accompanied by musical features such as irony and the use of music in a contrary way. Despite this trend, film attendance was at a low point in the 1970s, having declined from the 1940s, prompting a desire to improve the situation. The mid-to-late 1970s saw the rise of the "blockbuster film," a term originating from the military, referring to a bomb that could destroy an entire block, and was used to describe a film that could have a massive impact and bring large audiences to the theater. Blockbuster films were often aimed at a youth or children's market, as they had more free time to go to the theater during the summer, and marketing to children would also bring in their parents. These films typically focused on spectacle, fantasy, adventure, or a combination of these elements, and featured more central, elaborate, and extensive music than earlier 1970s films. A new generation of filmmakers, including Martin Scorsese, Francis Ford Coppola, Steven Spielberg, and George Lucas, emerged in the 1970s, having attended film school and studied the history of film, which gave them an appreciation for movies as significant artistic statements. new generation of filmmakers had awareness of film history, a sense of a “canon” of film, including appreciation of what classic filmmaking could bring to movies, although not all of these film makers (e.g. Scorsese and Coppola) made blockbusters Steven Spielberg (b. 1946): Jaws (1975), with music by John Williams (b. 1932), main theme reminiscent of Stravinsky’s “Dance of the Adolescents” (from Rite of Spring) This generation of filmmakers combined their artistic vision with the concept of the blockbuster, creating a new kind of film that was both artistically significant and commercially successful. The Film Canon and its Influence The term "canon" is mentioned, referring to a body of works considered to be the most important and influential in a particular field, and the filmmakers of this generation were influenced by their study of the film canon.  A canon is formed when a piece of art, such as a film, develops a significant history and lasting appeal, making it worthy of study in the future. The development of film as an art form led to the creation of influential pieces like "The Godfather" and films by Martin Scorsese, which drew inspiration from the classic film era. The Revival of the Classic Orchestral Score The classic film era, characterized by large theater audiences, influenced the use of music in films, leading to a revival of the classic orchestral score. John Williams played a significant role in this revival, working with directors like George Lucas and Steven Spielberg, and creating iconic scores for films like "Jaws" and "Star Wars." Williams' score for "Jaws" features a famous two-note theme that is an ostinato, repeating over and over, and also includes elements reminiscent of Stravinsky's "The Rite of Spring." The influence of Stravinsky and other composers, such as Bernard Herrmann, can be heard in Williams' scores, which often blend different styles and techniques. Analysis of the "Star Wars" Score Directed by George Lucas (b. 1944), music by John Williams Korngold a particular influence on the scoring Music not used ironically Lucas' score for "Star Wars" was influenced by the romantic style of golden age Hollywood films, particularly the work of Erich Wolfgang Korngold, and features a heroic and adventurous theme. The main theme of "Star Wars," associated with the character of Luke Skywalker, is a fanfare-like theme that features a wide range and energetic melody, including triplets and a perfect fourth and perfect fifth interval. The theme is notable for its energetic and youthful quality, reflecting the character of Luke Skywalker as a young and idealistic hero. The main theme discussed is associated with the Force in the 1977 Star Wars film, and it is connected to the character of Obi-Wan Kenobi, who teaches Luke about the Force. The theme is slow, melodic, and beautiful, with a different character to the Luke Skywalker theme, but shares some commonalities, such as starting with an opening interval and climbing up by step. The theme is divided into beats, with a hint of triplets reminiscent of the opening, and features a triplet figure, which is a common motif throughout the music. The speaker suggests that the Force theme may be a slowed-down, embellished version of the Blue Skyward theme, with similar intervals and trajectory.  The music in the film is used in a straightforward and characterizing way, with each theme reflecting the content and character of the characters, such as Luke's heroic theme and Princess Leia's lyrical and melodic theme. The speaker notes that Princess Leia's theme is played on flutes and is quite different from the typical main female romantic lead type theme, despite her character being presented as a Maid Marian type. The music is compared to the Cornwall approach, where music is used to characterize characters in an immediately graspable way, as seen in films like The Adventures of Robin Hood. The speaker highlights the connection between the themes and the characters' missions or destinies, such as Luke's heroic journey and Obi-Wan's mentorship. The themes are also associated with the idea of the Force, with its good and dark sides, and Luke's ability to tap into it and use it for his own ends. The speaker discusses the character of Princess Leia, describing her as a hero character who defies traditional feminine traits, and notes that her theme music is played when she is first introduced in the film. The speaker compares the theme music of Star Wars to other films, such as The Godfather, and notes that the Star Wars themes have upward sweeping gestures, whereas The Godfather themes have a more downward motion. The speaker highlights the use of music in Star Wars to introduce characters, citing examples such as Luke Skywalker's theme being played when he is first seen, and the Imperial March being associated with Darth Vader, although it is not used in the first film. The speaker notes that Han Solo's character is introduced in a more ambiguous way, with his theme music being a type of jazz that is played as source music in the background, rather than as underscoring to convey a specific emotion. The speaker draws a comparison between Han Solo's character and Rick from Casablanca, noting that both characters are not initially committed to a cause and must be won over throughout the film. The speaker highlights the use of music in the cantina scene to demarcate sections of the story and create a sense of atmosphere, noting that the music helps the audience to follow along and understand what is happening. The speaker also notes that the music in the cantina scene is not heroic, lyrical, or ominous, but rather a type of unclear jazz that creates a sense of uncertainty and ambiguity. The speaker discusses how music is used in films to signal changes in the story, using the example of the movie Star Wars, where a change in music indicates the introduction of a new character, Han Solo. The speaker also analyzes the climactic sequence in Star Wars where Luke joins the Rebel alliance to attack the Death Star, noting how the music creates an anxious and exciting mood, cuts out to focus on secondary characters, and then returns to signal Luke's shock and prepare for the final push. The music in this sequence is said to divide it into three parts, helping the audience navigate and understand the story. The Use of Electronic Scores in "Halloween" The speaker then shifts to discussing the movie Halloween, which is the focus of their analysis, and notes that it features an electronic score in the style of the late 1970s and 1980s. The use of electronic scores in films of this time period was a significant trend, influenced by the development of portable synthesizers and the advent of Dolby technology, which allowed for greater depth of sound in theaters. The speaker also mentions that earlier electronic music, such as in the movie Forbidden Planet, was often experimental and avant-garde, but not always effective in conveying the desired emotions or atmosphere. Sound synthesis involves manipulating sound waves to create different sounds, a technique that has been used for decades but was initially complicated and limited to large rooms with complex computers. The development of portable synthesizers in the 1960s made sound synthesis more accessible, and they began to be used by pop musicians, including the Beatles, making these sounds more familiar to the general public. As a result, synthesizers started to be used more extensively in film scoring, with early examples including the movie "A Clockwork Orange" and its synthesized music created by composer Wendy Carlos. Another early example is the 1978 film "Halloween," a low-budget movie that reportedly cost $300,000 to make, which led to the director, John Carpenter, writing and performing the score himself using a synthesizer. The score for "Halloween" was influenced by the film's low budget, resulting in a simple yet effective composition that added to the movie's tension and atmosphere. "Halloween" was heavily influenced by Alfred Hitchcock's "Psycho," with references including the use of the character name Sam Loomis, the casting of Jamie Lee Curtis (Janet Leigh's daughter), and similarities in certain scenes, such as the opening shot and a scene where the protagonist is fighting off the villain. Musically, the score for "Halloween" used ostinatos, or repetitive patterns, to create a sense of anticipation and tension, similar to the technique used in "Psycho." The use of ostinatos in the score contributed to its power and effectiveness in creating a sense of unease and tension, making the movie more suspenseful and engaging. The movie "Halloween" tells the story of Michael Myers, a young boy who murders his sister and is later institutionalized, only to escape and continue his killing spree 15 years later. The scene begins with Dr. Loomis and a nurse attempting to transport Michael Myers from an institution to a court, but Michael escapes by attacking the car and taking it. Michael then heads to the town of Haddonfield, where he had lived before, and begins to stalk and murder a group of high school students, including Annie, Bob, Linda, and others. The main character, Laurie, is a babysitter and a high school student who is initially unaware of the danger posed by Michael, but eventually becomes his target.  As the night progresses, Laurie's friends are killed off one by one, and she is forced to fend off Michael's attacks, with the help of Dr. Loomis, who eventually shoots Michael and causes him to fall off a balcony. Despite being shot multiple times, Michael appears to come back to life, leaving the audience with a sense of uncertainty. The film's score is notable for its use of an ostinato pattern, which is associated with the character Michael Myers and features an asymmetrical meter and a sense of chromaticism. The main title music is one of the most famous aspects of the film and is widely recognized as a symbol of the horror genre. The film's plot is typical of horror movies, with a group of teenagers being stalked and killed by a masked killer, but the music and score are what set it apart and make it memorable. The speaker discusses the meter in music, noting that most familiar meters are duple, with two or three beats, but the music in question can be counted as either a 10-beat or 5-beat measure, sounding somewhat off and repetitive. The speaker describes the music in the Austin album, mentioning a piano sound that is recognizable despite being synthesized, and lower, more artificial sounds that add to the overall effect. The music makes use of layering, starting with a piano sound and a "ting" sound, followed by lower, ominous notes, and eventually a higher-pitched sustained sound that creates a sense of thickness and chaos. The speaker notes that the music is effective in building anticipation and creating a sense of unease, particularly in the context of a film where the goal is to keep the audience on edge. The speaker references the film Psycho, noting that the music in that film, particularly the murder theme, is also effective in creating a sense of shock and unease, with its high-pitched and sudden appearance. The speaker mentions that the murder theme in Psycho is only heard three times, each time associated with a murder, and that it has a physical effect on the listener due to its loud and shrill nature.