Film Syncs - Music Syncs

A Night At The Opera to Quantum Of Solace

noreply@blogger.com (filmsyncs) — Mon, 12 Jan 2009 16:22:00 +0000

Virtually all major filmmakers use temp music to edit their films to. Many editors have stated that the ‘right’ music can help them with creating the right pace and timing for scenes. The official score is then sequenced over the film with adjustments made as deemed necessary. Some filmmakers take it another step or two further and use temp music to pre-visualize scenes or even to inspire elements of the scenes in the film. The end result is that the film’s composer creates the official score with the temp music - the underscore.

A great and recurring example of that is the use of the song “Someone To Watch Over Me” in the Bond films. This can be easily shown in the patterns of the Bond films with repetitive uses of two things:

1. A key involving a woman
2. Bond using his watch for something.

The key business started in the very first Bond film, Dr. No with Bond getting a key from a rental car from an admiring hotel lobby clerk.

This same idea is also used in Thunderball.

This thematic element is used right up to present day as Bond presents a room key to a hotel clerk in Quantum Of Solace. And yes, the QOS segment involves the song “Someone To Watch Over Me” producer Michael Wilson gets into the act as he observes Bond from the hotel lobby.

Variations on this is used in other Bond films such as Bond grabbing the master key from a passing maid in Goldfinger.

This moves to a shot of Jill Masterson "watching" over Goldfinger's card game opponent through high powered binoculars.

The Spy Who Love Me with Bond handing the keys to a van over to the Barbara Bach character. The watch as a prop device to “Someone To Watch Over Me” used in the pre-credit scene in From Russia With Love with Red Grant using his tricked-out choking wire coming out of his wristwatch. This is also used in Live and Let Die with Bond using his super-magnetic watch to pull down the zipper on the Italian Babe’s dress.

In Quantum Of Solace, scenes in the film sync to the album “A Night At The Opera” by the British rock band Queen. A great clue to this is provided by the filmmakers by naming the music track to the Opera scene “Night At The Opera.”

Some of the placement of the music is easy to figure out such as the car chase opening to the song “I’m In Love With My Car.” Naturally, the opera scene to Bohemian Rhapsody is another given. I did a complete and seamless sync of the music from the opening of the film to Bond’s bedding of Strawberry Fields. Just because I’ve sequence things together doesn’t make it correct. Deleted scenes or cuts can mean I’m after something that no longer exists or my ideas of what the filmmaker was after doesn’t match their ideas. Sometimes it’s pretty easy to match things up with a certain level of confidence. On music that is a bit complicated or abstract (such as Queen’s music) it becomes harder.

A couple notes:

Some “syncers” make the rather poor assumption that a filmmaker will just use an album from beginning to end. First and foremost, they are making a film. The music needs to work for the scene not the other way around. Also, there are repeated themes that require a revisit of the same music (just like the film composer does for the official score). Need for use of repetitive syncs particularly the short songs. An example of that is the repeated use of “God Save The Queen for appearances of the terse authoritative M. Btw, Dame Judi Dench has played both Queen Elizabeth and Queen Victoria in film roles.

Additionally, shorter songs often get more use as the filmmaker can use them for transitions scenes or segments where the music is not the foremost element. So, while filmmakers do like to use all the music in an album some songs need to wait until there is an appropriate element of inspiration.

I have created a “highlights” video of the music syncs to the album. Sorry if some of the transitions are abrupt but I wanted to include as much as possible while still staying under YouTube’s 10 minute limit. As all songs are listed and shown in the order used, anyone could recreate the full sync for himself or herself.

Link to YouTube Video (including higher def image):

http://www.youtube.com/watch?v=yLB47EANB1w

Happy New Year!

noreply@blogger.com (filmsyncs) — Fri, 09 Jan 2009 14:10:00 +0000

I'll be up with new posts next week as well as redoing some links that went down when a video site declined my syncs as copyrighted material.

Cheers!

More Bond Film Syncs to the song "Someone To Watch Over Me"

noreply@blogger.com (filmsyncs) — Fri, 06 Jun 2008 13:49:00 +0000

I'd thought I'd tackle some of the Roger Moore films having provided "Someone To Watch Over Me" syncs to the Connery films, Dr. No, Goldfinger and Thunderball.

Here are two syncs to the film, Live and Let Die and one to the film, The Spy Who Loved Me. While The Spy Who Love Me sync features a key the Live and Let Die don't but both syncs feature Bond's tricked out Rolex watch, thus 'watching' over things.

Enjoy!

Live And Let Die

The Spy Who Loved Me

Dr. No - Deliberate Continuity Errors - Miss Taro's Bungalow

noreply@blogger.com (filmsyncs) — Thu, 05 Jun 2008 22:26:00 +0000

One area of filmmaking that hasn't gotten its proper share of attention is the deliberate continuity error. Some directors love to fool their audience by putting these things in. Current filmmakers do this as well, but with DVDs, it becomes a lot harder to get away with things without getting caught. Naturally, it was somewhat a different mindset years ago when films were generally seen only in theatres and without the benefit of rewind or slow motion.

One extended scene that has a lot of deliberate goofs is when Bond visits Miss Taro's bungalow in the film Dr. No.

Admittedly, it's not always easy to decide what is deliberate versus just a mistake (goof). The best way I know how to spot them is when the director tips his hand. One of these techniques that give the director's intent away is what I like to refer as the three step mambo.

The first step is to establish something. Here we have Bond with short socks and the ashtray hidden behind the lamp.

The second step is to hide what was established either by blocking it from the audience's view or moving away to another shot so the audience forgets things.

The third step is to give us the first shot with things changed. Here, two of the bigger changes are the ashtray is now visible (before it was hidden by the lamp). And Bond is now wearing long socks.

I put together an audio commentary of the bungalow scenes as well as video/slideshow hybrid that show off some of these continuity errors.

http://www.omnisio.com/filmsyncs/dr-no-deliberate-continuity-errors

A list of the continuity errors that occur to me, follows:

1. A vent in the left side of the front door is open
2. Vents on right side of door (from the outside) are closed
3. Shadow on back window blind is now present
4. Bird Cage in angled position from before
5. Lampshade by Miss Taro’s bed is now huge
6. Fan shadow on back wall toward moves to cast shadow over the bedroom door
7. Fan shadow on bedroom door moves to cast shadow over table
8. Bottom picture tucked in vanity mirror appears more slanted than when first scene but this is not certain
9. Bright, pink light shine on framed pictures as Miss Taro comes over to the bed with Bond on the phone
10. Miss Taro agrees that her street address is 2171 Magenta Drive when before she had said it was 2391
11. The large slant in the lampshades by the bed has been lost
12. Sound of Bond descending the steps has him taking six steps where there were eight before
13. Pot on second step is now smaller and now on top step
14. Frond Door Vent is now closed
15. Turntable is now on the bar
16. Interior shot of moonlight in the bedroom has shadow that wasn’t present as Bond walks into the room
17. Ashtray that was on the table next to the bed is now by the table near the door
18. Bond’s tie is missing as he puts the silencer on his gun
19. The gun is a FN Browning with the scripted FN visible on the gun in a close-up, when the gun is suppose to be a Walther PPK
20. Bond’s watch had not been very visible (under his sleeve cuff) now is much more visible
21. Shadow of fan over Bond’s solitaire game with the fan moving much slower than prior shots
22. Golden rings on porcelain base of lamp point in a different direction than at first. The position of this lamp changes so often, I’m not going to mention the other changes
23. As Professor Dent opens the door, the strap on Miss Taro’s purse now leans forward into the room
24. The hammer of Dent’s gun stays in the cocked position as shots are fired. I think this was done with a special prop. Notice that the hammer doesn’t appear to be centered on the gun, more a bit behind it. This way the gun fires normally and the prop is just a tacked add-on allowing for a bit of silliness.
25. There is already a hole in the pillow before Dent fires his first shot
26. The shadow of the light next to the bed has shifted and no longer captures the shape of the light
27. The light changes making it brighter in the room so Professor Dent’s bright shadow is not longer seen through the door
28. The position of the box on the coffee table changes
29. The stack of cards that were in Bond’s hand have now moved closer to the edge of the table
30. The chain by the (closed deck) has now shifted position and the clothing hung over its back have shifted too
31. The bedspread is much more clumped on the floor
32. The table lamp by Bond is not tilted the same way
33. The fan is now going faster again and casting a different shadow
34. With the lights now on, the fan shadow stays present but in the cut to Bond’s face, the shadow is now missing
35. The light switch cord moves a bit on the chair arm
36. Red tassel (or the like) is on or in the mirror when it wasn’t present before or will again
37. In a reverse shot, the light switch cord which was on one side of the table is now over two edges
38. Professor Dent’s tie gets much neater than it was before
39. The ashtray that was hiding behind the lamp is now in sight
40. Bond is now sporting longer socks
41. Professor Dent’s left hand is further back on the table
42. The red women’s shoe behind Professor Dent have shifted position
43. Professor Dent’s right hand is now clenched
44. Professor Dent’s right hand is now open
45. Professor Dent’s left hand moves back to the edge of the table as he tries to move the bedspread with his foot
46. Ashtray is now between cord of light switch
47. The cord is just near ashtray
48. Bond now has long socks on
49. Gun is now further away from Dent than it was a minute ago
50. Ashtray now moves to the very corner of the table as Dent tries to kill Bond but hasn’t any bullets left
51. Bond gun changes from dark metal to brighter steel as he shoots Dent and then back to a darker metal
52. Silk belt on bench behind Dent changes positions slightly as Dent falls to the ground
53. Clothing is visible in the open drawer of the desk when it wasn’t visible in other shots
54. Cigarette magically gets into the ashtray as Bond takes the silencer off his gun

Videos are Currently Not Working - Sorry for the Inconvienience!

noreply@blogger.com (filmsyncs) — Tue, 03 Jun 2008 17:08:00 +0000

Bond, Back in Action - Film Montage to the song, "I'm Your Man"

noreply@blogger.com (filmsyncs) — Sun, 01 Jun 2008 21:48:00 +0000

Strictly for fun and a change of pace, a video montage of the song "I'm Your Man" by Michael Buble to scenes from the Bond films. Although, having said that, it is interesting how many new ideas come to mind by during these sort of things. Enjoy!

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Indiana Jones and the Last Crusade

noreply@blogger.com (filmsyncs) — Wed, 28 May 2008 13:37:00 +0000

Those interested in finding their own film syncs should be aware that syncing to The Beatles album Help! is one of the most widely used albums. Interestingly, it is often used for action films which seems (at first blush) a rather odd choice as it has so many love/relationship songs on the album. Filmmakers compensate by making broad use of "Ticket To Ride" and "Help" and then to cast a rather blind eye to gender issues. So, the song "You're Gonna Lose That Girl" could be used tongue in cheek for a lost enemy, lost gem, lost dog, etc. etc.

Another thing to forget about is that one song follows another. Filmmakers don't give a darn about the order of things on an album, they care about using music to inspire them. Period.

I've done a sync of four songs to a segment of the film including:

"Ticket to Ride"
"You've Got To Hide Your Love Away"
"Help!"
"I Need You"

Those interested could easily continue the sync to the end of the film if they pay attention to the scenes and little care about needing to repeat songs (hint, hint).

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Bridges (with Gaps) Over Troubled Water

noreply@blogger.com (filmsyncs) — Tue, 27 May 2008 19:26:00 +0000

Recently I posted a sync showing that the film, The Bridge on the River Kwai inspired the Paul Simon song, "Bridge Over Troubled Waters."

Link: http://filmsyncs.blogspot.com/2008/05/bridge-over-troubled-waters-to-bridge.html

I also posted a sync to the Bond film, Casino Royale references the song.

Building on that, I want to show a pattern of use of the song in the Bond films for the Roger Moore films.

The film, Live and Let Die uses water effectively but with a twist, where instead of there being a gap over land (a la The Bridge on the River Kwai) there is a gap over water. This land span is what Bond skims his boat over (twice) during the scene.

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In the film, The Man With The Golden Gun, the theme of using Sheriff Pepper in a "Bridge Over Troubled Waters" sync is repeated with an exciting jump over a broken bridge. The Asian location and broken bridge paying homage to The Bridge on the River Kwai.

The sync works so that the lyrics:

See how they shine

Works to the bright shine coming off of Bond's car as he spins it around.

The question should be: couldn't that just be the natural sun light hitting the car during a complicated stunt? Sure, but filmmakers are very careful about lighting and camera angles - they're pros not likely to make amateurish goofs except when they deliberately want those things to occur. Nor are they stupid enough to get a light man and his large spotlight in the reflection of the car unless they want to do it.

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In A View To A Kill, a drawbridge becomes the gap over the river with Bond (in a fire truck) spanning the gap. The song is also used during the climatic scene on top of the Golden Gate Bridge. This sync is a tougher one to get because the filmmakers are syncing the music to the film multiple times. Thus for example, the scene with the fire truck ladder knocking the top off of a pickup truck explosing a couple this works for the lyrics:

When you're down and out, when you're on the street

as well as the double entendre of:

Like a bridge over troubled water I will lay me down

and the scene with Bond (on the ladder) knocking the hats off of two bald guys works with:

I'll take your part

as well as the two gay guys (we are talking about San Francisco here) to:

When you're down and out When you're on the street
as well as possibly:

Sail on Silver Girl, Sail on by Your time has come to shine

Bond fans, notice also the deliberate continuity error of the American made car switching from a left-wheel model during the street scene and a right-wheel car in close-up.

This was done by mirroring the image.

Here's one version:

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My Name's Spielberg, Steven Spielberg

noreply@blogger.com (filmsyncs) — Fri, 23 May 2008 02:14:00 +0000

Steven Spielberg has commented on how much an impression the Bond films had on him as a filmmaker. When presenting Sean Connery with the AFI Lifetime Achievement Award he said:

“well rare is the moment when to honor an actor who has captured lightning in a bottle. And rare is the moment when that actor creates a character for me, for you and for millions of people around the world. People who do not speak the same language but they share this character, one that inhabits our most impossible dreams and influences what we’d like to wear (Turnbull & Asser with Rolex watch) what we’d like to drink (martinis, shaken not stirred) and what we’d like to drive (Aston Martin DB-5). His very name is an example of this, his name is Bond, James Bond.”

It turns out that the Bond film music helped inspired one of the the most memorable scenes in movie history, the opening scene in Spielberg's film, Raiders of the Lost Ark. So here are the main themes to Goldfinger and Thunderball, back-to-back, separated by only a few seconds within the film, Raiders of the Lost Ark.

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Bridge Over Troubled Water to The Bridge on the River Kwai

noreply@blogger.com (filmsyncs) — Mon, 19 May 2008 19:04:00 +0000

Admittedly it helps to know some films to be able to figure out sources of inspiration for musicians. But, beyond that, sometimes the music composer makes it pretty easy for anyone to figure these sources out, once they become aware that this is going on (naturally).

A case in point is the Simon and Garfunkel song, "Bridge over Troubled Waters." Not only is the song title a huge clue but with key lyrics like:

Like a bridge over troubled water
I will lay me down
Like a bridge over troubled water
I will lay me down

it suggests the question, exactly what is this bridge over troubled waters and what is being laid down?

The source of inspiration I'm referring to is the film, The Bridge On The River Kwai, with a collapsing Colonel Nicholson (Alec Guinness) laying down over the dynamite plunger causing it to explode with the second laying down being the bridge over troubled water being the ... um ... bridge over troubled waters - with the train falling into the water.

Another nice touch is the sign Colonel Nicholson so proudly erected to the unnamed "This Bridge"
floating by in the water after the bridge's collapse to the lyrics:

Like a bridge over troubled water
I will ease your mind

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Bridge Over Troubled Water to Casino Royale

noreply@blogger.com (filmsyncs) — Mon, 19 May 2008 00:55:00 +0000

In Casino Royale, didn't it seem odd that the water is still churning heavily minutes after the Venetian house sank?

The reason is to play a part in the filmmaker's art. That of incorporating a secret underscore to the film. Part of that score is to the Paul Simon song, "Bridge Over Troubled Waters."

one interesting set of lyrics:

When tears are in your eyes
I will dry them all

Has Bond nailing an operative named Gettler (seemingly a doppelgänger of Le Chiffre) through the left eye with a nail gun. This is the same eye that Le Chiffre sheds tears of blood as seen earlier in the film with Bond taking a verbal shot at Le Chiffre saying that he won't consider himself in trouble until he starts "weeping blood."

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Help Big Boy Get His Feet Back On The Ground Sync

noreply@blogger.com (filmsyncs) — Wed, 14 May 2008 03:30:00 +0000

Certainly, any Bond fan recognizes that the Austin Powers films is a parody based heavily on the James Bond films. However, there are more references to the Bond films than many a Bond fan may realize.

Some things in the first film, Austin Powers: International Man of Mystery are quite easily identified as based on the film, You Only Live Twice. They include Dr. Evil's appearance based on the Donald Pleasence version of Blofeld. That and his white Persian cat, Dr. Evil's version named Mr. Bigglesworth.

Other things may only occur to the Bond fan if he/she has seen the film recently. For example, Austin Power's extremely hairy chest is based (in parody) on the story element of Tiger Tanaka commenting on Japanese men having beautiful bare skin compared to Connery's hairy chest.
An of a smaller detail is the positioning of an (as of yet) unseen Blofeld, where his cat is shown before he is.

YOLT:

Austin Powers:

Or women driving sporty convertibles with small video monitors that show you the face of the person you're talking to.

There are other secrets for the Bond fan to figure out and discover, involving the hidden soundtrack for You Only Live Twice (and other Bond films). In another entry in this blog I show how the Bond filmmakers did a full film sync to the album Help! This is reference by the Austin Powers film.

For example, to the song "Ticket To Ride", we have Bond escaping danger by getting into Aki's white convertible and Austin Powers escaping women by jumping into Mrs. Kensington's Jaguar convertible.

Some things weren't apparent to me on first viewing. For example, we get a look at a sign for the London Underground) to the lyrics "I do appreciate you being round".

And while I caught the reference to the same "I do appreciate you being round" to round also being Austin Powers sticking out his backside, I missed the arrow on the woman's shirt, helping to point out the clue.

We also have Austin Powers running from a group of women, that references The Beatles's films Help! and A Hard Day's Night while also commenting on Aki running away from James Bond in "You Only Live Twice" to the same song. The Underground also references Tiger Tanaka's private underground railroad as well as his assumption that M (in London) may have the same setup.

To the song "Help, some little touches are:

My independence seems to vanish in the haze

To the vapor passing over Dr. Evil as he is locked away in a freeze chamber.

Help me get my feet upon the ground

To Big Boy's big feet in liftoff

Or a more subtle reference of Austin Powers climbing the stairs (thus feet off the ground) plus having the leg of a woman in a airborne swing in the shot.

Here is the video to the two songs:

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Help! Album to You Only Live Twice - Highlights

noreply@blogger.com (filmsyncs) — Tue, 13 May 2008 01:38:00 +0000

The filmmakers of the movie, You Only Live Twice decided to do a full film sync to The Beatles' album Help!

It may be hard to imagine at first as it would seem an odd pairing of a lot of love/relationship songs to a James Bond film. However, the filmmakers make strong use of the two most action related songs "Help!" and "Ticket To Ride" and use non-traditional women to go with some other songs. This includes the female flying gadget named Little Nelly and Blofeld's cat. For example, the filmmakers sync "Another Girl" for Bond's introduction to Little Nelly and "You're Gonna Lose That Girl" to Blofeld's losing his white (and disappearing) Persian cat. It also doesn't hurt that Bond has scenes with several women including:

Miss Moneypenny
Aki
Helga (bad girl)
Kissy
Ling (Chinese girl in Hong Kong)
Japanese Masseuse

Naturally, the song "Help!" with the lyrics "help me get my feet back on the ground" works well with everything from space walks to ninjas repelling into Blofeld's volcano lair. "Ticket To Ride" working well for scenes with Aki's white convertible as well as rockets into space and Blofeld's monorail cars (looking a bit like a Disneyland ride).

With 46 separate song syncs, the film syncer needs to realize that the odds of getting all of those syncs correct as the filmmakers intended is unlikely. Sometimes equally good ideas exist in multiple songs. Further, with songs of approximately the same length, different songs could be used without affecting the rather obvious syncs around them. For example, the songs:

"Another Girl"
"I've Just Seen A Face"
"Yesterday"

All clock in at 2 minutes, seven seconds.

With that said, there are some common themes that are present in Help! album syncs that certainly help the syncer find his/her way. Over time, that will be made more clear.

Below are the video highlights from the full album sync. If there is interest in the full film sync, I'll consider posting it.

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Blinded By The Light to Goldfinger

noreply@blogger.com (filmsyncs) — Wed, 07 May 2008 18:06:00 +0000

Someone brought up the question about whether songs just occur to me and that made me think of a one-off sync that was nothing more than that.

I was simply watching Goldfinger with the scene where Bond is blinded by the light made me think of ... you guessed it. However, while the "blinded by the light" lyrics work great with the bright lights of the scene this is a tough sync to appreciated as Springsteen obviously has other sources that influenced the lyrics as well as there are so many lyrics (some a bit hard to understand).

Key lyrics

And now young Scott with a slingshot finally found a tender spot and throws his lover in the sand

The young Scot being Sean Connery with Tilly Masterson struck to the ground by Oddjob's metal-rimmed bowler.

Yeah he was blinded by the light Cut loose like a deuce another runner in the night

At gunpoint, Bond gets back into his Aston Martin, the runner in the night was Jill Masterson running for the woods before being struck down. The light is the headlights pointed toward the audience.

And go-cart Mozart was checkin' out the weather chart to see if it was safe to go outside
Safe to go outside is ironic, as Bond looks down toward his ejector button. The weather chart perhaps a reference to the round green screen tracker that is one of the key gadgets in the Aston Martin.

And little Early-Pearly came in by her curly-wurly and asked me if I needed a ride

A whirly birdy is more like it as Bond ejects his unwanted passenger out of the top of the car (thus needing a ride).

Yes and Scotland Yard was trying hard, they sent a dude with a calling card, he said, do what you like, but don't do it here

Another Scot reference with Bond having to change direction as the old lady guard effectively uses a machine gun on him.

He was just blinded by the light Cut loose like a deuce another runner in the night

The deuce is Bond's two seater Aston Martin, a nighttime car chase afoot with a light blinding Bond as he holds his hand up in front of his face

Blinded by the light

Blinded again, Bond shields his eyes with his hand ultimately crashing.

Mama always told me not to look into the sights of the sun

The sun is the distinctively yellow headlight of a chase car. The headlight coming into a close-up.

Video of the sync:

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Someone To Watch Over Me to You Only Live Twice

noreply@blogger.com (filmsyncs) — Tue, 06 May 2008 22:18:00 +0000

Continuing with another sync of "Someone To Watch Over Me" to a Bond film we have it syncing to the title credits in the film, You Only Live Twice.

Perhaps most importantly, it shows the coordination that occurs between the Title Credit designer (Maurice Binder) and the other filmmakers (director Lewis Gilbert and editor Peter Hunt etc.) as the sync starts before the title credits and ends after the credits are over.

A nice touch by the filmmakers is that Frank Sinatra version of the song "Someone To Watch Over Me" is the secret underscore to his daughter's title song.

Another fun element is that Binder has a simple door key as part of a woman's jewelry as we hear the words "he carries the key." The key is directly above the woman's right eye. It isn't obvious as he has another piece of metal dangling down by it, but he does give the audience a clue when the camera goes in for a close-up (or at least 'closer up).

To the words "someone to watch over me" has:

A cop looking over Bond's corpse checking his eyes to see whether he's dead
A woman spying on the audience
A woman turning her head to look at the audience
A woman (in silhouette) looking down, thus (presumably) looking over someone

A man looking through binoculars at Bond's funeral as the camera pans in to Bond's obituary

The video:

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Stargate (1994) Syncs

noreply@blogger.com (filmsyncs) — Thu, 01 May 2008 23:38:00 +0000

It's always nice when a director does a sync that references another film while doing a sync to the same song. In the film Stargate, the director Roland Emmerich references the Pink Floyd sync to 'stargate' in the film, 2001: A Space Odyssey. Key references (besides the high speed travel itself) are the explosion of tiny stars hommage to 2001 but to the same set of lyrics.

2001:

Stargate:

Emmerich also references Pink Floyd's sync to Snow White with the Stargate's round portal with reflective 'waters.'

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There are many things going on including a syncs to the Meddle album. Here is a sync to "Shine On You Crazy Diamond" It was easy to find. It's been years since I saw the film Stargate but the lyrics:

Now there's a look in your eyes, like black holes in the sky

I knew had a darn good chance of syncing to the bad guy's eyes going black before being nuked.

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A Couple Syncs to the Film: The Matrix

noreply@blogger.com (filmsyncs) — Wed, 30 Apr 2008 20:13:00 +0000

I know there are a lot of fans of the film, The Matrix. For many people it was one of the first DVDs they probably owned if not the very first. So, I thought I would post a couple syncs to show you some of the music that inspired the action you see on the screen. For the Pink Floyd fan of the album, The Wall, it also gives them a start to the creation of a full film sync to the music. It won't be easy though. One tip, forget about the order of songs on the album and just pay attention to the lyrics.

One touch I like is the dull white tile of the bathroom wall, certainly a clue inspired by the album cover of The Wall.

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With the Frank Sinatra sync, the question might be why would the Wachowski brothers be doing syncing old time music to their film?

My response is that music is music. Heck, next year The Wall will be 30 years old, older than most of the people reading this post. Sure each generation has a special place in their heart for music listened to as they grew up, but it's how the song connects with you that matters ... not its age. Another factor is to pay homage to the filmmakers that came before them, but that's a subject for another day.

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Hitchcock Secrets

noreply@blogger.com (filmsyncs) — Tue, 29 Apr 2008 14:41:00 +0000

A few things to share about a film sync (underscore):

1. Alfred Hitchcock, before he shoots a film has worked out what music underscore(s) he will be using and to what specific action on the screen. That doesn't mean that he won't change things or improvise ... it means there is a plan. Thus, the music is part and parcel with the development of the shooting script and music is a key element and inspiration for each film scene.

2. A music underscore is NOT just there to help create the film, it is part of the art form. The music syncs (i.e. matches) the specific actions on the screen as a final product of the film. Certainly, anyone that has studied Hitchcock films notice the duality (for lack of a better word) of his films. That extends to the film's music with an official score and an underscore.

3. Hitchcock loves to use the same music over and over within a film and from film to film as he sees fit much like thematic elements are repeated in a film. For example, in Vertigo, how many times does Hitch put Scottie at close approximation to Madeleine with her seemingly unaware of his presence?

4. Hitch may use many different songs within a specific scene. Artists look for and are interested in many different ideas and points of inspiration. Rarely is inspiration singled-tracked.

5. Hitch doesn't just use music he likes. He uses music he likes AND that were themselves created to film. Thus he pays homage to these artists. It is also a bit of a snowball effect. A film inspires a song. That song inspires another film. That film inspires another song ... etc. etc. That doesn't mean that he might not sync his films to classical music or opera as well, just that there is a HUGE pattern of syncing his films to music inspired by movies.

But, talk is cheap so let's go through a full example.

Hitchcock used the song "Till There Was You" in his film Vertigo. I'm using the Original Broadway Cast Album version from the musical The Music Man for all but one sync. This doesn't mean that that version necessarily was used by the filmmakers but helps to show common elements and patterns. Key sync points are Scottie oblivious to what's around him as he follows Madeleine around San Francisco. Note the yellow roses in the cemetery even when it is only the non-vocal (instrumental portion) where they would be singing "And there were wonderful roses, they tell me" if there were vocals.

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So, other than the music working fairly well, how does this become more than a coincidence? Well, other filmmakers use the same music to sync to their films WHILE doing an hommage to Vertigo. One of those films is Perfume: Portrait of a Murderer. In it, we have the rather obvious reference to the yellow roses in the cemetery along with a gravestone with a Spanish woman's name on it. The other major connection is the protagonist and the stunningly beautiful woman being so close to each other by the gravestone, with the woman seemingly being unaware of his presence a la Madeleine in Vertigo.

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So, if that's the case, what film inspired Meredith Willson when he was writing "Till There Was You?"

There may have been other films, but one of them was Hitchcock's Rear Window.

Not much is needed other than to watch the video. I particularly like how the lyrics:

There were birds in the sky
But I never saw them winging

has birds NOT 'winging' but just sitting on the roof of Miss Torso's apartment as most red-blooded males concentrate on her considerable talents. Note: Meredith Willson sampled multiple scenes in Rear Window, taking advantage of the red roses around the courtyard.

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So, what's to help prove that Meredith Willson wrote this song to Rear Window beyond a decent sync? Well, other filmmakers reference the song sync and Rear Window in their films. An example is Stanley Kubrick's film: Lolita.

Kubrick has Lolita (when we first meet her) wearing a two-piece suit sunning herself in the back yard of her house. Naturally, the two piece outfit references Miss Torso, the sunbathing referencing the woman sunbathing on the roof in Rear Window and the loud radio the bit of business of the loud radio that bothers the composer as he works on his song. Note how Charlotte Haze mentions her prize winning yellow roses, a reference to Vertigo, with Humbert only having eyes for Lolita.

For this song, I used The Beatles cover version. What I'm stating is that they were 'in the know' about what Kubrick was up to. It wasn't by some random chance that they used that song, The Beatles wrote other (original) music to the film, Lolita. What songs? Did I mention that I'm writing a book? Another small clue comes from Kubrick who has Charlotte Haze give out her phone number as 1776. Note how, Humbert (James Mason) separates the number into two accentuating the '76' portion. The 76, a small clue to 76 Trombones, the big number in the musical, The Music Man.

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Another film that references the song and Rear Window is Roger Vadim's film, ... and God Created Woman. In it, Vadim has Brigitte Bardot sunbathing in the nude with red flowers around with much older men interested in her, one of them being a guy watching her through (you guessed it) the rear window while confined to his wheelchair a la Rear Window. For the part:

There were birds in the sky
But I never saw them winging

I soften the music and boasted the sound effects so you can hear the really heavy bird chirping. Overall, this sync isn't that good but hopefully helps to show intent.

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So, if you're open to the idea that artists (both filmmakers and musicians) share and are cognizant of what each is up to ... you're well on the way to finding syncs of your own!

Lucy In The Sky With Diamonds to Mary Poppins

noreply@blogger.com (filmsyncs) — Mon, 28 Apr 2008 19:28:00 +0000

The book I'm writing will document that The Beatles wrote a lot of their music to sync to film scenes. At first, that's a hard concept to grasp. The natural question would be, why would they? The natural answer is that, if you were writing lyrics would you find it helpful to work with visuals or not work with visuals? There is a lot more to it than that but hopefully that's a point to start from.

Another key point to realize is that artists rarely use just one film scene as inspiration. Often it's several scenes within the same film as well as scenes in other films. Artists are magnets for ideas, obtaining them wherever they can. The beauty of films is there are repetitive ideas or themes that help them work on their songs.

When showing someone a sync, I'll get the response, 'some things work really well and some things were a complete miss. ' Often the reason is that the artists might have gotten inspiration for the beginning from one film and a different film for the ending.

To help illustrate that point, let's look at the song, Lucy in the Sky With Diamonds. The first video shows a composite scene of three separate scenes in the film, Mary Poppins to the song. I've also included two of the three full syncs as well.

The song starts with the lyrics:

Picture yourself in a boat on a river,
With tangerine trees and marmalade skies

Is inspired by Bert's (Dick Van Dyke) chalk drawings in the park. Just moments before the start of the sync we see his drawing 'Punting On The Thames.'

At the start of the sync to help with the visuals in his drawing, Bert pretends to be in a boat, using his chalk stick to move his boat through the water. Thus 'picture yourself' works for Bert's pictures as well as their 'Jolly Holiday' within the chalk drawing of a English countryside.

Enjoy!

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Shannon Eileen - Casino Royale Inspired

noreply@blogger.com (filmsyncs) — Fri, 25 Apr 2008 15:18:00 +0000

I noticed a post at the MI6 (the Bond fan forum). It was suggesting as a rumor that the singer Shannon Eileen was going to be singing the new Bond song.

Now, leaving that aside, I went to Shannon's myspace presence:

http://www.myspace.com/shannoneileen

The song "Ride (The Wave)" was playing. Immediately I smiled, the lyrics involving the Bond film, Casino Royale (2006). Shannon writes on her site about being inspired by 60's Spy Films so there may be other spy film connections, certainly her album cover is also Bond and 60's spy films inspired. In so doing, she joins a LONG list of musicians that have been inspired by spy films and Bond films in particular.

View of her album cover:

I don't think the Bond producers have ever picked an artist that wasn't well known to sing the Bond Title song, but I will state that writing/performing music to (or for) the Bond films is a commonality shared by many of the artists that have sung the title. So, it's a good way to go. More about this at some point. I think I know a film scene that influenced Shannon's title track "Trigger Finger" but I'll leave that for someone else to explore.

Enjoy.

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Patterns in the Bond Films

noreply@blogger.com (filmsyncs) — Thu, 24 Apr 2008 18:41:00 +0000

I'd thought I would reach out to the many fans of the James Bond films (which includes me as well) and explain a bit about the Hidden Underscores of the Bond films.

All the Bond films were created to music. By created I mean that before one meter of film is shot there is a shooting script that has been inspired by music. Moreover, the scenes are created so that this secret music syncs (i.e. matches) the action in the film.

That's easier said than proved, so I thought that I would show three scenes in three different films that all sync to the same music. One very popular song to sync to (not just by the director of Bond films but films in general) is the Gershwin song, "Someone To Watch Over Me." Below are three syncs to the Frank Sinatra version of the song. This does not mean that that was the specific version that the filmmakers used but it does help to show common themes, common patterns and matches to the exact same timing. The three films presented are three of the Connery films: Dr. No, Goldfinger and Thunderball. All three films have the commonality of a bit of business around a hotel and a key (a car rental key, maid's pass key and Bond's room key, respectively).

Goldfinger

Although I may not be the man some girls think of as handsome To her heart I'll carry the key

Without even looking at the hotel maid, Bond grabs her pass key and pulls her and the key over to open Goldfinger's suite

Won't you tell her please to put on some speed Follow my lead, oh how I need Someone to watch over me

Bond watches over Jill Masterson as Masterson watches over Goldfinger's competitor's cards

Won't you tell her please to put on some speed Follow my lead, oh how I need Someone to watch over me

Bond looks through the binoculars at Goldfinger as he is also 'over' Jill Masterson

Dr. No

There's a somebody I'm longing to see I hope that she turns out to be Someone to watch over me

Professor Dent walks to the table where the tarantula waits in its cage. A beautiful element of the scene is the unseen Dr. No with the omnipresent voice looks over Professor Dent as Dent looks over the spider. Also note the ceiling with the criss-crossed material and the chair, both giving the impression that it is not just the spider who is in a cage.

Although I may not be the man some girls think of as handsome To her heart I'll carry the key

The hotel clerk hands Bond the key to the car he's renting and then watches him as he walks away.

Won't you tell her please to put on some speed Follow my lead, oh how I need Someone to watch over me

'Watching' over Bond is the traps he set in the room: a hair across his closet doors and powder on the hardware on his attaché case

Won't you tell her please to put on some speed Follow my lead, oh how I need Someone to watch over me

The camera slowly panning to the bed matches the slow movement of the tarantula moving up Bond's body, Bond watching its progress.

Thunderball

I'm a little lamb who's lost in a wood I know I could always be good To one who'll watch over me

Domino puts her fluffy white (lamb-like) wrap over her shoulder. Bond is shown watching Domino exit with Felix Leiter watching in back of Bond.

Although I may not be the man some girls think of as handsome To her heart I'll carry the key

Bond picks up the room key at the front desk, the hotel clerk watching Bond as he walks away (climbing the stairs)

Won't you tell her please to put on some speed Follow my lead, oh how I need Someone to watch over me

As the tape recorder (hidden in a book) plays the audio of someone entering Bond's hotel room and walking across the floor, the camera slowly pans over the carpet showing the path of the intruder.

Of note, this scene is NOT as originally planned making for the continuity error of Bond having lunch with Domino in swimwear, then going to the casino in a tux, then to showing Bond returning to the hotel in the same swimwear. I don't know when they made this sequence change decision or why but the originally approach (poolside, return to room, meet Leiter, etc. etc.) still shows intent for the sync.

Two possible moments to sync were:

Bond looking over his shoulder at one of Largo's thugs watching Domino (poolside).

Domino mentioning to Bond how sharp his eyes are, having noticed that her ankle bracelet reads Domino.

Below, please find the video containing the three syncs.

Enjoy!

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Echoes to 2001: A Space Odyssey - The Ape To Man Sync

noreply@blogger.com (filmsyncs) — Thu, 24 Apr 2008 01:11:00 +0000

Often musicians will sync multiple times to a film or find inspiration in different films. This is part of the reason that some syncs don't resonate with a viewer. The viewer is expecting that one sync to be the be all and end all while the artists may just be picking ideas up over multiple syncs.

Another Echoes sync to 2001 comes much earlier in the film with the monolith appearing before the apes. Key lyrics include:

And do I take you by the hand and lead you through the land And help me understand the best I can

The apes touch the monolith with their hands. Some have theorized that the monolith is not just a beacon sending back information but works as a boaster shot of intelligence, making those that are fortunate to come in contact with the monolith smarter.

And no one tries and no one flies around the sun

The camera pans up to show the sun directly over the monolith.

And through the window in the wall Comes streaming in on sunlight wings A million bright ambassadors of morning

Dr. Floyd calls home, the earth bright and beautiful out of the window next to him.

And no one sings me lullabies And no one makes me close my eyes

Nothing much but one wonders how often the young daughter is on her own, with her father traveling and her mother out, left with a housesitter.

So I throw the windows wide And call to you across the skies

The call from across the sky is Dr. Floyd using the video phone to call home. This syncs to a shot of the phone charge with the old styled logo of Bell Telephone.

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Echoes to 2001: A Space Odyssey - The Star Child Sync

noreply@blogger.com (filmsyncs) — Tue, 22 Apr 2008 23:32:00 +0000

Continuing on with the Echoes theme, let's go back to 2001: A Space Odyssey and show a different sync to Echoes, one that fits well with the last two sets of Lyrics.

Highlights of the second set of lyrics include:

And no one tries and no one flies around the sun

Syncs to a bright light followed immediately by a yellow eye as if reflecting sunlight or looking into the sun.

This then shifts to a shot of a huge cluster of stars.

Highlights of the third set includes:

Cloudless everyday you fall upon my waking eyes
Inviting and inciting me to rise

Oldest Dave tries to rise up in the bed his outstretched hand and finger trying to reach the monolith in front of him.

And through the window in the wall
Comes streaming in on sunlight wings

The wall is the monolith. And the camera does appear to enter the monolith, is it used for travel too?

A million bright ambassadors of morning

The Star Child appears in a brightly lit sphere

And no one sings me lullabies
And no one makes me close my eyes

Refers to the Star Child. Note that we never see the Child blink his eyes, the lyrics commenting on that oddity.

So I throw the windows wide
And call to you across the skies

We (the camera) enters the monolith and emerge above the earth.

Or even better, try it for yourself.

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noreply@blogger.com (filmsyncs) — Mon, 21 Apr 2008 15:52:00 +0000

This post comes out of a discussion with fellow syncers over at The Synchronicity Arkive. Link: http://www.synchronicityarkive.com/forum

Some folks seem to hold the classic sync of Pink Floyd's song Echoes to 2001: A Space Odyssey as the Gold Standard of all deliberate syncs.

The main reason for this is that the sync starts with the words "Jupiter and Beyond The Infinite" and the sync runs to the end of the film i.e. to the beginning of the credits; thus, the timing of the sync i.e. one white lettered intertitle to the next white titles (end titles) gives this additional credibility.

According to some syncers, the sync should be set up so that the words "Jupiter and Beyond The Infinite" appear just as the third 'ping' is heard at the beginning of the song. The idea being that it works best that way and the third ping works much like the third MGM lion's roar at the start of DSotM to the beginning of The Wizard of Oz ... a way of getting the sync right. This, of course, messes with the theory above as it no longer goes from title to title but there you have it.

I commented on the forum that the sync was a fine one. Certainly the music has a nice 'spacey' quality to it and the first group of lyrics works well with the action on screen. Certainly:

And something stirs and something tries
And starts to climb towards the light

Works really well with the bright lights appearing as Dave starts his voyage past the walls of light.

However, I mentioned that the last two sets of lyrics didn't work well at all. Such as:

Cloudless everyday you fall upon my waking eyes
Inviting and inciting me to rise
And through the window in the wall
Comes streaming in on sunlight wings

Doesn't work at all with Older Dave walking back to his dinner and sitting down.

Well I got at least a few posts coming back saying that it did work well and I got the sense that some felt that I was chipping away at the Great Pyramid.

Can't help that. I think it's more important to get syncers thinking outside their comfort level.

With that in mind, I thought I would offer up another deliberate Echoes sync. The point is not to minimize the classic Echoes sync but to expand on it.

Naturally, the lyrics fit well with the action on screen, but the link to the title: Echoes is there too.

First with Snow White singing:

Make a wish into to well, that's all you have to do
And if you hear it echoing, your wish will soon come true

With that her words echo back from within the wishing well.

Another series of echoes comes with the seven dwarfs singing in the mine, listening to their echo coming back from within the mine.

Hope you enjoy it!

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Film Sync of Pirates of the Caribbean: Dead Man's Chest to John Lennon's Watching The Wheels

noreply@blogger.com (filmsyncs) — Mon, 21 Apr 2008 00:21:00 +0000

Enjoy this sync. Hopefully the timing of the words with the action help to get the viewer to start to see that filmmakers often 'sync' a deliberate underscore to their films as a way of helping their creativity.

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