Reliving a film through its score.

[BurgaFlippinMan 7]

So, I had long believed that I was one of those who could enjoy a score without seeing the film it was written for. But I've recently begun to question whether by watching a film, we subconsciously tend to like a score better? Take for example, Giachinno's UP. Listening to it before the film, I found it to be nothing more than a pleasant lightweight affair which didn't compel me to come back for more. However, after seeing the film (and thinking that his not quite bombastic mostly unassuming approach was absolutely perfect for it), I've come to appreciate it lot more as a standalone listen. I don't quite relive the film as I would be able to with say, Star Wars but seeing it has undeniably had an effect on me. I don't know whether its possibly because I'm subconsciously reliving the 'atmosphere' of the film that I've come to really like the score. Any thoughts?

[Ollie 1,059]

I enjoy listening to scores away from the film.

I get more enjoyment listening to the music away from the visuals than I do hearing it in the film. If I want to re-visit the music and re-live the film, I'll put in the DVD and watch it.

[fommes 153]

Well, his point was rather that after seeing a film an appreciation for a score can grow - largely subconsciously, in other words without trying to relive the film while listening. I entirely agree on this, it often happens with me too.

[Ollie 1,059]

Actually he references both points.

I greatly enjoyed the score to UP before I saw the film. The movie really didn't do anything to make me like the score better.

If it's bad music, it's bad music. The Dark Knights score works well buried within the film, but it's still bad music on it's own.

[fommes 153]

I know, but sometimes you miss good music until you see the film.

I guess it's to do with the fact that you sometimes are more attentive to the music after seeing the film; maybe the aspect of recognition plays a larger role than we'd (like to) think.

[BurgaFlippinMan 7]

Sorry if my point wasn't too clear. But yes, fommes is right about that. I'm putting it out there that I've come to think that by seeing the film, we are allowing our subsequent listens to its score to be possibly colored by the experience whether we like it or not. I want to know your opinions about whether you agree that we MAY be subconsciously reliving the overarching EMOTIONS and ATMOSPHERE of a film when listening to the score (as opposed to reliving it scene by scene or shot by shot) which can lead to a greater appreciation of the score in some cases.

Again, there are many scores I enjoy whose respective films I have never seen, but every once in a while, something like UP comes around where the difference in my appreciation between the pre and post film listens are to vast to gloss over.

[Ollie 1,059]

I've gotten to the point were viewings of a film may ruin my opinion of a score. The music alone can paint a picture that is completely different from what ends up on screen.

I guess I've reached a point where I view film music as regular music and don't worry whether or not it was composed for a film. I enjoy it for what it is and don't worry if I ever see the film it was composed for.

[Gruesome Son of a Bitch 6,488]

I like Close Encounters the score, the film itself I barely watch and personally am not a big fan of. But that's a rare example for me. Most of my favorite scores that are always on the playlist are written for films that I also enjoy or usually adore (ie Star Wars, E.T., Jaws, Indy). I know the films by heart and every little nuance of the score. Listening to the music inspires me to remember the films. This connection probably causes me to have a deeper admiration for the music than I normally would. Recognizing various hit points and realizing the connection with whatever is occurring in the film at that moment, that sort of thing.

[TheDarkOrb 0]

to the OP: Yes. Viewing a film does indeed make listening outside of the context of the visuals better. For me atleast.

John Williams - Star Wars (Original Series OSTs)

David Arnold - Casino Royale

Shiro Sagisu - Evangelion OSTs

Martin O'Donnell & Michael Salvatori - Halo OSTs

Jerry Goldsmith - Alien

Good examples of work that stands outside of their visual pieces, though I'm sure many will disagree with me on Alien.

If it's bad music, it's bad music. The Dark Knights score works well buried within the film, but it's still bad music on it's own.

Yeah, I can never get through my 2-disc, re-organized, The Dark Knight score.

[BurgaFlippinMan 7]

I've never had score diminish on me upon seeing the film. If its good music, its intrinsic value will stand even if the film is horrendous. But sometimes for me at least, seeing the film extracts an extra layer from the music, enhancing it.Its not something I ponder about honestly, and neither do I go about trying to watch all the films to the scores I own, but its just that my experience with UP has been rather jarring.

And just to add, there really are very few films to which I know the nuances of both the films and their scores to effectively 'relive' them in my head.

[Ollie 1,059]

Good examples of work that stands outside of their visual pieces, though I'm sure many will disagree with me on Alien.

Alien is a wonderful listen away from the film. I also feel the same way about Goldsmith's Planet Of The Apes, although I know most people don't feel the same about it.

[Marian Schedenig 8,193]

Agreed, basically, although I do admit POTA can be difficult to digest. Having seen the movie can make it easier by providing a rough context. And as for Alien, most of the music in the movie has hardly anything to do with what Goldsmith originally composed.

I guess I've reached a point where I view film music as regular music and don't worry whether or not it was composed for a film. I enjoy it for what it is and don't worry if I ever see the film it was composed for.

That's what I used to think, and partly still do. However, over the years I've more and more realised that much music really isn't "just music". Film music is probably closest to opera, not just (for the "traditional Hollywood score") in style but also in function and structure (what little there is left of it nowadays). Then there's ballets, symphonic poems, oratorios... an awful lot of music really is based on some kind of "story". Roughly knowing the Latin in Bruckner's Te Deum makes me appreciate his specific use of harmonies for specific topics more than just listening to it as "pure" music (and I don't have to be religious for that, either ).

I think what it comes down to is that when listening to any kind of music, it "should" be primarily about the music. But if the music is grounded in some external context, like a book, a film or a poem, keeping that in mind can "increase" the music. And it doesn't have to be a good source - a bad movie can inspire a composer to write great music, and the bits that inspired him may help the music as well.