As you're writing it, do you know how fast that scene is going to be? Or. SIEGEL: We hear that as we're watching very rapid action in the animation. It's trying to evoke some sense of chaos and adventure. So maybe one of those is menace in a lower register. I mean, I guess there are certain conventions that come with film and with scoring film. Was that bass at the beginning - is this the "Jaws" joke? SIEGEL: I feel as scared as a small fish being chased by a shark right there. (SOUNDBITE OF FILM SCORE, "FISH ARE FRIENDS, NOT FOOD") This is a part of the score titled "Fish Are Friends, Not Food." SIEGEL: Here's something from another animated film you scored, which was "Finding Nemo," a great movie. ![]() It's feeling followed by transition, followed by more feeling, and typically in, like, little five-second bursts. So a lot of these movies, you can parcel out areas and decide when transitions need to take place, which is a lot of what animation is about. It's because you never did because it's in a constant state of refinement. When you go and see the movie, you think, wow, I never saw that. THOMAS NEWMAN: I mean, you always see various phases of the animation. How did you do it? I mean, did you see a finished animation and write to it? Or were you in the process? How did it all happen? SIEGEL: See, you are practically ridding a score for a silent film. Later, the emotion deepens as the score conveys WALL-E's loneliness and sorrow. SIEGEL: At first, the score is quirky and playful. Banks" or this one - "Wall-E," the animated film about a robot left alone on an abandoned planet. You've probably heard his music and scores for "Erin Brockovich" or "The Shawshank Redemption," "Saving Mr. We'll hear from five composers, and we start today a with 12-time Oscar nominee Thomas Newman. This week, we're bringing you a series that examines the music behind the movies - Scoring the Screen. Even "Lawrence Of Arabia" would feel small to me without that magnificent orchestral score by Maurice Jarre. SIEGEL: Those are bits of some of my favorite movie scores. It's equally about hearing words and music. The camera angle is high, giving off a visual of both a cage and a comfort.Seeing a movie isn't just about seeing. ![]() Red reaches around, touching the walls, as if finding the cell-like nature of the space soothing. Freeman makes small but brilliant acting choices as Red's panic takes over, sending him huffing and puffing to the floor of the cramped bathroom. This is a good moment, even if it's understandable to see why it was cut. He flees to the bathroom as a panic attack descends upon him. ![]() Red comments that they're calling it "The Summer of Love," which gives the audience a sense of space and time. It's an interesting collection of moments, but they're also slow and a little on the nose.Īnother scene shows Red trying to bag groceries as a child shoots a toy gun at him, seemingly triggering Red to perhaps recall the robbery that landed him in jail for murder in the first place. Then, Red walks down a street, eyeing the fashions of women, mentally commenting on how he feels like a dirty old man for staring at styles that would have had the ladies called for a "sanity hearing" if they'd worn them back when he was young. "It wasn't an easy decision for me to make."
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