Very different approaches to movie music

I mentioned the upcoming Leonard Bernstein biopic earlier. Whilst his Broadway musical, West Side Story, was quickly turned into a film, I don’t really think of him as a movie composer.

Here are a couple of articles about composing music for the movies.

How the iconic music of 2001: A Space Odyssey came to be
When he was finally cutting the film, he started laying in this music that he’d been amassing during post and even during production. He would watch the rushes and listen to music. In fact, one of the key catalysts was, when the MGM [head] brass flew in from LA and from New York, Tony Frewin [Kubrick’s assistant on the film], who was 19 years old, the week before the MGM brass flew in, Kubrick said, “Tony, get petty cash. Get this much money and go buy all the classical music you can find downtown.”

Ryuichi Sakamoto: Coda is a reflection on how the composer hears the world
This sort of spontaneous fluidity is what has driven most of the composer’s work throughout his decades-long career. In the film, we see his restless creative energy at work, as he edits and adds to tracks while sitting on an exercise ball in his home studio. He improvises on a track playing in the background by running a violin bow across a hi-hat cymbal to unnerving effect. He listens to his environment with a playful curiosity, endlessly experimenting with whatever he can find

2001 was 50 years ago already?

It’s hard to believe this film is 50 years old. The Guardian marks the occasion with a piece that describes how the first audiences were baffled and walked out of the premiere, and how the critics of the day rubbished it: “trash masquerading as art”. I wonder what its own initial review was like. The article starts with news about mountains on a tiny moon orbiting Pluto.

Kubrick’s 2001: the film that haunts our dreams of space
As a result Kubrick Mons and Clarke Montes are now two of Charon’s major mountains. It is a fitting honour – and timely. The two men’s great collaborative work, the film 2001: A Space Odyssey, was released 50 years ago this month. By putting its creators’ names on the map of Charon, at the edge of the solar system, astronomers are repaying a debt to two visionaries who reshaped our thinking about the cosmos and created a film rated by some as the greatest ever made.

As well as being a major influence on a range of film-makers, its depiction of futuristic technology caught the eye of astronomers and designers alike.

Equally intrigued were young scientists desperate to witness technology that was credible and imaginative, something that had been entirely absent from feature films until then. “The film set new standards for ‘realistic’ portrayal of life in space, overcoming decades of Flash Gordon space-westerns,” says a former teenage astronomer, Professor Ian Christie of Birkbeck, University of London. “It also created a new soundtrack for cosmic spectacle – through the use of the opening of Strauss’s Also Sprach Zarathustra and the music of Ligeti.”

One thing I love about the film is the unflinching slowness in the editing. It’s as is the whole film, and not just HAL, is trying to stare you out. Pinter would be proud of these pauses. This clip shows that beautifully, I think.

HAL 9000: “I’m sorry Dave, I’m afraid I can’t do that”

And that voice. Would the film be the same without Douglas Rain? Here he is eight years before.

Universe (1960 film)
After this work, co-director Colin Low worked with Stanley Kubrick on 2001: A Space Odyssey. His work on this short may have influenced Kubrick to begin his project. Kubrick chose Universe narrator Douglas Rain as the voice of the HAL 9000 computer and also hired Wally Gentleman, who did optical effects for the NFB documentary, to work on 2001.

‘Universe’ – 1960 – science/ astronomy animation

That film starts off with a fascinating artistic impression of the moon. Here’s a slightly more up-to-date representation, care of NASA’s Lunar Reconnaissance Orbiter spacecraft.

Tour of the Moon in 4K