Yet it is amazing how so perfectly much of this pre-recorded music fits a scene. Some of the directors who immediately come to mind are Stanley Kubrick and Martin Scorsese, both of whom dealt mostly with music that was composed for its own sake, and not for film. Some of the most memorable films have the most memorable soundtracks, and time and again it is the director who is also an auteur, assuming complete control of the production, who frequently make the best choice that will result in a film that will be remembered decades after its release.
There are even some films (one will be discussed below) where the absence of music, or any sound, for that matter, leaves a deep and distinct impression on the scene, and the audience. It has become clear that it is practically impossible to separate the visual image from the soundtrack of a film the one desperately needs the other, and the image on screen will most likely not be as memorable, or effective, without music which, when carefully selected, deepens the effect and serves to ultimately define the director’s vision. Who is not able to recall in exact detail the five notes played as a form of communication in Close Encounters of the Third Kind? Or the shrieking and screeching of the hair of the violin bow across the strings during the iconic shower scene in Psycho? When we reflect on great films we have seen, we frequently remember the music that was heard during key scenes that magnified the impact of the scene. It is undeniable the impact music has made in film since the art form’s inception over 100 years ago. “I like beautiful melodies telling me terrible things.” “Music touches us emotionally, where words alone can’t.” Rowling, Harry Potter and the Sorcerer’s Stone
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