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On the Intrada website, Doug Fake has written several articles about "Nailing the Moment" ie those specific scenes where the composer completely captures the spirit of the moment.
One of my favorite examples of this is in ONCE UPON A TIME IN AMERICA where Robert de Niro returns to the scene of his youth and makes a phone call to his childhood friend from just outside the friend's restaurant. Morricone's nostalgic, haunting melody perfectly captures the mood and transcends the moment.
Another is from THE WILD BUNCH finale where the four remaining outlaws return to retrieve their captured comrade and walk side by side to certain death. Jerry Fielding's drum cadence, only heard once before in the beginning of the film, returns to remind us of the signifcance of this moment in their lives.
What are your favorite examples of "Nailing the Moment"?
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"Good To Go" from Alan Silvestri's CONTACT, from the scene where Ellie is strapped into the transporter and about to be dropped into the vortex. Just one of the most thrilling pieces of score I have ever heard, and elevates the moment in the film to a white knuckler.
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Speaking of nails, a DVD of the 1961 KING OF KINGS is in the works from Warner Home Entertainment (just had to get that association in).
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Avi, you're the King of Kidders!
But, moving right along, I'll mention two nail-the-moment favorites.
1. ON THE BEACH (Ernest Gold) Osborn's (Fred Astaire) suicide, sealing off the garage, sitting in his race car and gunning the engine, reliving in his mind his recent triumph on the track as oblivion overtakes him. Gold caught every psychic element, including the re-lived triumph, in this poignant moment; gives me chills every time I hum the music back to myself and relive this scene.
2. THE NIGHT OF THE HUNTER (Walter Schumann) (Yes, this is an unabashed plug for my new Limelight Editions book, available wherever better books are sold, "Heaven and Hell to Play With: The Filming of THE NIGHT OF THE HUNTER.") The climax of the big chase down to the river: The segue from terror to tranquility as Schumann's music becomes part of Mitchum's frustrated scream of rage, up to his neck in the rushing river as the current carries Billy Chapin and Sally Jane Bruce just out of his knife's reach to safety; the scream music then reveals itself to be the hushed chords as the boat drifts peacefully under the stars.
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The moment where the camera closes in on Cheif Brody's face in JAWS.
*****SPOILER*****
"Signs":
The scene where Graham's wife dies and says, "Swing away"
I will never forget the look on her face when she said that and died. Everytime lsten to the CD I cry during that part, but right after my heart picks up the pace cause you remember what happened in the movie and the signifcance of that moment.
Truly, I saw the "Signs" I can think of two you would only know after having seen the movie four times.
In the Army recruitment office Maryl, how ever you spell it, says "It felt wrong not to swing."
Or when Caroline was in the house talking to Maryl while the boy, I forget his name, was at the table and she said, "I never got a chance to tell you, but... moving in with your brother after-- it was a real nice thing you did."
Maryl: "Yeah, but I don't think I am helping much."
She looks at the boy and then at Maryl again andf says, "You are."
The opening scene where Kirk is climbing the mountain in "Star Trek V: The Final Frontier".
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Bumoed
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This pointless bump of an old thread with no added content other than mis-spelling a word, was brought to you by: Mr. Marshall.
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