film music assignment

Top 10 Resources for Teaching Film Music

October 30, 2021 | By Rachel Shapey

• Advice for Teachers

Film music is a popular topic in the secondary classroom with great scores to listen to, clever techniques to analyse and brilliant composers to learn from. However, it is a vast topic and teaching it effectively can be a challenge. Here I’ve compiled a list of 10 film music resources (in no particular order) that are well worth checking out…

1. The Musicologist

Dr Matt Lawson is a Senior Lecturer in Music and Subject Coordinator for BA Music at Oxford Brookes University and specialises in film, TV and video game music.  Matt has created some fantastic videos on his YouTube channel: The Musicologist .  From his “60 second guide to film music” series to the “Same scene, different music” and “Film music analysis” videos, there’s a wealth of material that you and your students will love. 

2. Musical Contexts

This popular website has recently been revamped and there are some brilliant film music resources to explore.  A one-off payment (£99) gives you access to everything on the site. KS3: Soundtracks  includes a Leitmotifs pack and James Bond project as well as short video clips to download and use with your students. Other useful resources include GCSE Film Music Study Pack and GCSE Film Music Question Pack .

3. Composing music for a chase scene with Steven Berryman

In conjunction with the London Philharmonic Orchestra, Steven Berryman shares ideas and exemplar listening for creating the music for a chase scene in a spy film.

3. How to Compose Heroic Film Music online student course

The most popular course on the I can compose website is currently How to Compose Heroic Film Music and takes students through the whole composing process from creating a strong heroic theme and choosing suitable instruments to adding chords, a percussion part and developing the main theme using various techniques. 

Every I Can Compose course includes a model composition which is broken down lesson by lesson so that the student can watch the compositional process and see how a piece is put together.

The course can be purchased individually or via one of the 12 month access plans .

5. Bristol Plays Music:  Wallace and Gromit Film Music Unit

Bristol Plays Music presents a KS3 film music unit of work which includes lesson plans, worksheets and PowerPoints slides.  If you teach in a Bristol school you can also request access to the licensed video materials.

6. Midnight Music: Creating Film Music – step by step manual

A handy step-by-step guide for creating film music with audio clips, useful web links and screenshots to get students started on their own film scores.  There are plenty of other useful film music resources to look through on this site so grab a cuppa and get reading!

7. James Manwaring Music Blog

James has several posts focussing on teaching film music on his blog – have a look at this one which is for a Year 9 Film music lesson and includes key words, video clips and handy tips. This brilliant Mary Poppins video at the end of the post, illustrates perfectly how music can completely change the atmosphere of a film!

8. BBC Ten Pieces: Hans Zimmer

Hans Zimmer composed ‘Earth’ especially for BBC Ten Pieces and invites students to take what he has started and create something new from it.  As with all the BBC Ten Pieces there are excellent resources such as PowerPoint slides, score arrangements and lesson plans all available completely free.

9. I Can Compose Film Music Listening Packs

The I Can Compose film music listening packs present a wide variety of composers and listening material. The original Film Music Pack includes questions on Danny Elfman, Ennio Morricone, John Williams, Howard Shore, John Barry and Hans Zimmer. You can download a free John Williams taster sheet .

The Female Film and TV Composers Listening Pack includes questions on music by Isobel Waller-Bridge, Delia Derbyshire, Anne Dudley, Hildur Guðnadóttir, Debbie Wiseman, Carly Paradis and Yoko Kanno so if you’re looking to diversify the listening examples you play in class, this pack is a great starting point.

10. Open University free course: Using Film Music in the Classroom

This free short course (8 hours) might be helpful if you’re new to teaching film music or looking for some fresh ideas.  It includes exemplar listening, tasks and activities to complete.

Explore our other film music blogs…

I hope you have found this post helpful – do check out our other film music-themed posts.

Top Tips for Teaching Film Music – Part 2

Top tips for teaching film music – part 1.

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• Creating Film Music: A Step by Step Manual

This is a guest article written by: Elisabeth (Lisi) Bottoms. 

Why Another Article About Film Music?

When it comes to film music, there are so many different resources out there.  So many interviews,  tips and tricks, analysis and so on. Yet, when I started planning my unit on film music, I felt that it was difficult to find small, practical assignments. As the population of my music classes is quite diverse, I wanted to create a framework, which would allow the students to do well even with little background knowledge. I also wanted to make sure that any kind of musical style would be acceptable. 

Can You “Hear” The Picture?

For some students, creating film music can be quite intimidating. Especially if they are lacking keyboard skills, it can be discouraging and putting students off. I decided to start with the bigger picture – how to translate an image into music and vice versa. I usually have a good mix of musical preferences in my classes, so this question finally caters to the more classically inclined students with  Beethoven’s Pastorale. I chose a variety of examples from the symphony –  from very easy (the birds) to a bit more challenging. 

I made some simple slideshows using Google Slides. I had chosen a blank layout and chose “gradient” for the background. 

For the flowers, I searched for “flower transparent background”. Then checked the copyright situation using the advanced search function. Another way is to go to Pixabay, choose the vector function and then look for flowers:  https://pixabay.com/de/vectors/search/flower/

After the first impression, I tried to get them to think of bigger ideas by listening to the fourth movement. The students shared their thoughts on Dotstorming.com. The fun part was to see how many students had the same idea by the amount of votes received. 

Getting creative with the first mini assignment. 

I am a big fan of “mini assignments”. Composition exercises ranging between 15 and 30 seconds. These are perfect for the short attention span of students and it allows them to explore a big variety of musical styles, tasks and pieces. If they are not content with the outcome, they can always give it another try. In this case, I showed them a picture of the Helenen valley, where Beethoven loved to take his walks. The students had the choice of acoustic instruments, using a DAW or a combination of both. An easy, but lovely combination was to include recorded nature sounds and add them to the composition. 

This is also a great time to introduce the students to the most amazing free Petrucci Music Library. Especially the more experienced high school students are often amazed when they see all the sheet music and recordings – free and easily accessible wherever they are https://imslp.org .

Lesson starter: 

When it comes to film music, students are often not aware of the vast range of music styles used in films. This lesson starter got them thinking: 

So far, every single class was quite surprised by the amount of films using Beethoven’s music. This regularly leads into some fun discussions. 

Playing with Chords

Before we start the big project, I want to teach my students several composition techniques, using the DAW of their choice. By demonstrating the build up of 7th and 9th chords, students quickly understand the power of chords beyond the triad. When I don’t have time to get fancy with imovie or similar, I like using screencasts such as QuickTime Player , Screencast-o-matic , or the Screen Recorder Extension on chrome. Here is a simple example of simply capturing the playing of notes I put in a notation software. 

Another fun aspect is working with clusters. They are easy to create, can be morphed, shaped, transposed and modified. Clusters immediately create an eerie feeling and students do not need a lot of music theory foundation to have fun with it. For additional help to write down the clusters might be the use of the virtual piano with a mark up function. I use Musicca in class quite often.

The next exercise is best done in pairs. Students look for two chords, which can be played one after another repeatedly. A bit like back and forward. One can use a DAW of choice, but if it has to go quickly, students can also use Gootar.com . Especially using the autoharp function with vibes on slow, create a great and easy background for improvisation. 

Gootar autoharp for finding matching chords. 

Antecedent and consequent. 

Often students have a good idea for a motiv but do not know how to continue. A simple way to resolve this is to teach them the idea of antecedent and consequent. For teaching purposes, I am personally a fan of Musescore as it is free, not depending on the internet, relatively easy to use and yet very powerful. Pieces that work well are themes which are short and distinct. 

Here are some ideas of getting started –  created by my amazing colleague Samuel Wright, using ProCreate.

The next step is then to take the first part of a well known motif and ask the students to create different answers on the notation software of their choice. An easy one is e.g. Remy’s theme from Ratatouille –  if you want, you can find the notation on Musicnotes.com. 

Getting ideas with using chordify

This lovely website called Chordify has several songs, films and other short videos, where the use of chords is shown while playing the video. One should always check the chords as the chords are written by anybody who wants to upload them. However, it is a good source for students to understand the idea of harmonic rhythm and how the chords change with the action on screen. 

https://chordify.net/chords/eritrean-animation-movie-ratatouille-2019-part-20-bini-man

Music analysis using film music

Advanced students will love the idea of dissecting their favorite film music pieces. On YouTube , Brad Frey has created reduced scores, with added analysis and the video playing along. It is an incredible source for high quality music analysis. 

More preparation work for the final project: 

In addition to the exercises mentioned above, we also worked on texture, rhythm, timbre and film music specific vocabulary, analysis and listening. As these components were not necessarily connected with music technology, they are not included in this article. 

Moving on to the final project

The final project consists of writing a new soundtrack to an existing copyright free animated short film. Unfortunately, these vary from country to country, so each teacher will have to do their own research on what is acceptable. Some of the webpages I found very useful are to be found on Openculture or at the site of Penn State University Libraries . Again, each teacher needs to decide which film is appropriate for the specific class. I usually pick 5-6 different films to shorten the time of selection. 

Removing the original sound of a video

In order to recreate the soundtrack, the original music needs to be removed first. There are many different options, my students found Cloudconvert.com quite easy to use. 

• Upload the video

2. Choose mov and select the edit tool:

3. Scroll down to the audio options:

4. Choose audio option “none”:

As with any bigger project, I gave my students regular check in times, in addition to the conversations in class. I also expect them to document their process. This has two main reasons –  it helps the students to think about their work more in depth and it helps me to evaluate their academic honesty, especially if they work on it at home. 

Importing a video into Garageband

Most of my students decided to use Garageband to create their film music. As our school is a 1:1 apple laptop school, this was a good choice. Some very advanced students used Logic pro x and some also used FL studio. I linked this video straight into the task description –  to ensure that I do not have to explain over and over again how to import the video. 

Final Project

The final project was a great success. I had students create music with the most diverse styles. From simple melodies paired with downloaded sound effects to scores, to scores which were fully composed in EDM (Electronic dance music) style. Unfortunately, I cannot share any of the projects here as we used videos for which we had the permission to change the score for teaching purposes but not publish it. My next ones will only use videos from the above mentioned copyright free sources as the compositions were so good that I would have liked to share them on our school’s social media channels. 

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About The Author

Elisabeth (Lisi) Bottoms is currently the Department Leader for Performing Arts at Vienna International School. She loves sharing her passion for teaching music on her website https://www.internationalmusicnavigator.com/

Looking for  More  Resources for Music Teachers?

Hello! I’m Katie Argyle – an Australian music technology trainer and consultant with a passion for helping music teachers through my business  Midnight Music .

I’m a qualified teacher but no, I don’t currently teach in a school. I help teachers through my online professional development space – the  Midnight Music Community  – where there are tutorial videos, courses, links and downloadable resources.

I like to focus on  easy  ways to incorporate technology into  what you are already doing in your music curriculum  through a range of creative projects. I also run live workshops and have presented at countless conferences and other music education events.

If you want simple, effective ideas for using technology in music education, I would LOVE to help you inside the  Midnight Music Community .

Learn more and take a sneak peek inside

One Comment

Could you be more specific on where to find films that you can download? I went to the Open Culture website you suggested but there doesn’t seem to be a way to download them…just watch them.

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Film and media music today are thriving. This is partially due to the success of the streaming industry expanding content at an astonishing rate, thus creating a demand for media composers like never before. 

• analyze the story in a film based on the common three-act structure
• appreciate the art of filmmaking as a collaborative process of many different departments, music being just one of them
• understand the historical and technical challenges in film and music synchronization
• understand the creative process of writing to picture
• set up your DAW with appropriate tempo and meter maps
• tackle the most common challenges film composers come across, including:
• main titles
• passages of time
• action scenes
• tension-filled scenes
• dialogue scenes
• develop thematic material
• spot a movie
• use electronic synthesis as a creative tool
• navigate the intricacies of the business, including:
• Contracts and deals
• publishing vs. writer’s share
• self-promotion
• career paths
• import video and create an offset start point in your DAW for scoring purposes
• create final audio mixes within a QuickTime movie

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Lesson 1: An Introduction

• Overview of the Media Music Industry Today
• The Narrative, Programmatic Nature of Film Music vs. the Absolute Nature of Music
• Program Music: Peter and the Wolf
• Program Music: Pictures at an Exhibition
• Program Music: The Planets
• Program Music: La Cathédrale Engloutie
• Other Examples of Program Music
• Film Music: An Example of Modern Program Music
• Absolute Music
• The Role of Film Music
• The Role of Silence
• What Is Good Film Music?
• Creating a Program Note
• Assignment 1: Create a Program Note and a Short Composition

Lesson 2: The Making of a Movie

• The Who's Who in the Film Biz
• The Filmmaking Process
• Development and Preproduction
• Postproduction and Distribution
• The Film Music Production Process
• Syncing to Picture
• Primary Synchronization Techniques: Punches and Streamers, and Clock
• Primary Synchronization Techniques: Click Tracks
• A Little Bit of Math
• Assignment 2: Analyze the Filmmaker’s Decisions in Your Favorite Film

Lesson 3: Understanding Drama

• The Basic Structure of Modern Drama
• End of Act Two
• Back to the Future : A Structural Analysis
• Back to the Future : Act One
• Back to the Future : Act Two
• Back to the Future : Midpoint
• Back to the Future : Act Three
• The Basic Signposts in a Film
• Signposts No. 1: Editing Techniques (Part 1)
• Signposts No. 1: Editing Techniques (Part 2)
• Signposts No. 2: Spoken Words
• Signposts No. 3: The Look of a Film
• Film Music Lingo
• Understanding a Script
• Assignment 3: Analyze a Film’s Dramatic Structure

Lesson 4: The Different Writing Styles in Film Music History – Part 1

• Motific Writing: Composing in Short Blocks
• Motific Writing Today
• Under the Hood: Motific Writing Film Music Theory
• Strong, Longform Thematic
• Under the Hood: Longform Thematic Film Music Theory
• Americana Style
• Under the Hood: Americana Style Film Music Theory
• The European Traditional Sound
• Rhythm and Chord Focused
• The Epic Sound and Power of the Triad
• Dissonant Rich
• Assignment 4: Writing Styles Research

Lesson 5: The Different Writing Styles in Film Music History – Part 2

• Featured Small Ensemble: The Closeup Sound
• Small Ensemble: Eclectic and Abstract
• Small Ensemble: Fun and/or Groove Oriented
• Small Ensemble: Popular Music Influenced
• Mode-Based Writing Applications
• Orchestral, Minimal, and Pattern Oriented
• Sound Magic
• Modern Minimal, Poignant, and Emotional
• Assignment 5: Choose Musical Styles and Create a Short Composition

Lesson 6: Frame Rates, Time Codes, and DAW Setup

• Picture Sync: Frame Rates
• Picture Sync: Timecodes
• Setting up Your DAW to Match ‘Window Burn’
• Creating Markers
• Tempo and Meter Maps
• Tempo and Meter Considerations
• Your Workspace
• Assignment 6: Work with Your DAW

Lesson 7: Spotting

• Spotting: Where and Why
• The Reasons for Music Entrances
• The Main Functions of a Cue
• Songs in Films
• Needle Drop of Score Cues and Classical Works
• Original Songs vs. Score in Films
• Catch Me If You Can : A Spotting Analysis
• Assignment 7: Analyze Catch Me If You Can

Lesson 8: The Writing Process

• Learning the Language of Film Music
• Common Approaches for Writing to Picture
• Main Titles and Passages of Time
• Creating a Main Title
• Creating a Passage of Time
• The Making of Our Own Main Title: The Thought Process
• Tension Devices
• Music Editing: A Method and Source of Inspiration
• Assignment 8: Analyze Tension in Film

Lesson 9: Theme Adaptation

• Theme Adaptation Techniques: Rachmaninoff Part 1
• Theme Adaptation Techniques: Rachmaninoff Part 2
• Theme Adaptation Techniques: Rachmaninoff Part 3
• Writing Your Own Material and its Variations
• Theme Adaptation in Modern Media Scoring: Back to the Future
• Theme Adaptation in Modern Media Scoring: North by Northwest
• Theme Adaptation in Modern Media Scoring: The Painted Veil
• Assignment 9: Rachmaninoff and Adapt a Theme

Lesson 10: Create an Underscore Cue

• What Is Underscore?
• Examples of Underscore
• Shaping under Dialogue: Endless Love
• Shaping under Dialogue: Jurassic Park
• Playing the Bigger Picture: Star Wars
• Playing the Bigger Picture: The Matrix Reloaded and Shutter Island
• Writing under Voiceover
• Underscoring Tools
• Assignment 10: Create a Dialogue Underscore Cue

Lesson 11: Create a Sound Design-Based Cue

• Pitch vs. Sound
• Electronic Synthesis
• Under the Hood: Theory and Technique
• Subtractive Synthesis
• Creating Sounds
• Basic Sound Manipulation Techniques
• Hybrid Scoring
• Assignment 11: Create a Sound Design-Based Cue

Lesson 12: Business Aspects for Aspiring Film and Media Composers

• Promoting Your Work: Start Early!
• Social Media Promotion
• Networking and Career Opportunities
• Motivations to Score a Film
• Budgeting Your Projects
• Contracts and Other Business-Related Topics
• Typical Career Paths
• Working with an Agent
• Advice from Industry Pros
• Assignment 12.1: Create a Music Budget for a Short Film
• Assignment 12.2: Final Scoring Assignment

Requirements

Prerequisites and course-specific requirements .

Prerequisite Courses, Knowledge, and/or Skills Completion of  Music Theory 101 ,   Music Theory and Composition 1 , and  Basic Ear Training  or   Ear Training 1  or equivalent knowledge and experience is required. Students should be comfortable with the features and workings of their DAW (digital audio workstation) of choice, be it Logic, Pro Tools, Digital Performer, or any of the other programs specifically listed. An existing competency in creating music, combined with a thoughtful awareness of drama and human emotion will be critical assets to draw upon from your own background. You should have the following prerequisite musical and technical skills:

• Ability to read and create music
• Ability to compose music and create scores (either from a notation program such as Finale [full version] or Sibelius) or handwritten and scanned
• Some experience with MIDI sequencing and digital audio software for producing and finalizing musical mock-ups via sample libraries Courses that may help you prepare for  Film Scoring 101  include the following:
• Pro Tools 101
• Producing Music with Logic

Textbook(s)

• Recommended: Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TV (2nd Edition)  by Richard Davis (Berklee Press, 2010)
• Recommended: Scoring the Screen: The Secret Language of Film Music  by Andy Hill (Hal Leonard, 2017)
• Recommended: Reel Music: Exploring 100 Years of Film Music (2nd Edition)  by Roger Hickman (W. W. Norton & Company, 2017)
• Recommended: Film Music: A Very Short Introduction  by Kathryn Kalinak (Oxford University Press, 2010)

Media and Subscriptions

• Back to the Future  (1985)
• Catch Me If You Can  (2002)
• Alien  (1979)
• Raiders of the Lost Ark  (1981)
• The Fugitive  (1993)
• Groundhog Day  (1993)
• Parasite  (2019)
• Pro Tools Studio or Ultimate
• Notation software (recommended option), such as Finale (full version), Sibelius (Artist or Ultimate), Dorico (Elements or Pro), MuseScore (free), etc.
• Handwritten notation captured by a digital camera or a scanner can be used in lieu of notation software.
• Deeply sampled orchestral libraries covering all standard families, such as Orchestral Tools Berlin Orchestra Created with Berklee
• MIDI keyboard controller
• Studio monitors (pair), such as JBL 305Ps or better, as well as an audio interface and necessary cables
• Over-ear studio headphones, such as Sennheiser HD 600, Sony MDR-7506, Philips SHP9500, Audio-Technica ATH-M50x, etc.

Student Deals After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact [email protected] with any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in Live Chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

• macOS High Sierra 10.13 or later
• Windows 10 or later
• Latest version of Google Chrome
• Zoom meeting software
• Speakers or headphones
• External or internal microphone
• Broadband Internet connection

Instructors

Author & Instructor

Patrick Kirst is a German-born film composer based in Los Angeles. He’s best known for his work on the highly successful romantic comedy trilogy,  The Kissing Booth . The sequel was released in summer 2020 and for a second time achieved a record-shattering number of streams on Netflix. The release of  The Kissing Booth 3  in 2021 completed the trilogy as one of the most successful franchises on the Netflix platform.

Jack Freeman has been teaching courses in film music editing, composition, and history at Berklee College of Music since 1991. He also supervises and designs facilities and classrooms in support of the Berklee curriculum. Freeman has extensive experience in film and video production, working in the fields of network broadcast, cable, and community television, and is well-versed in a wide variety of analog and non-linear editing platforms. He has given seminars and demonstrations in film music for the "Grammy in the Schools" program among others, and has composed original music for a variety of documentary, industrial, and experimental films and video productions.

Kevin is a Berklee Film Scoring (’05) alum that has worked as the U.S.A west coast product specialist for Steinberg’s Cubase for the last 6 years. He frequently gives master classes, clinics and demos at some of Los Angeles' top studios and production facilities such as Remote Control Productions (Hans Zimmer), Warner Brothers, Music and Motion Productions and Westlake Pro. He has a vast amount of experience in film composition, song and remix production as well as invaluable music and entertainment industry experience. Primarily, Kevin is a film, video game, and tv composer and has worked on a variety of projects including the recently released biopic “Pele - 2016”, “The Legend of Hercules - 2014”, “The Hundred Foot Journey - 2014”, “Million Dollar Arm - 2014”, a soon to be released X box game, and ABC television shows. In addition to his frequent collaborations with A.R. Rahman (Oscar Award Winning Composer for “Slumdog Millionaire - 2009”), Kevin is developing a new gestured based musical instrument with Intel Corp. and was featured at this year's Consumer Electronics Show (CES) with Intel’s CEO.

Dario Eskenazi is a Grammy Award winning pianist and media composer based in New York City.

Award winning composer George Oldziey got his first big introduction into the world of film scoring when he joined forces with film director Robert Rodriguez to create the score for Spy Kids 2 and has since served as composer, contributing composer, orchestrator and score producer for other feature films such as Spy Kids 3D, Once Upon a Time in Mexico, Kill Bill, Volume 2, Sin City, Grindhouse - Planet Terror, The Adventures of Sharkboy and Lavagirl, Shorts and Sin City; A Dame to Kill For and the Christmas 2020 Netflix release We Can Be Heroes. George has also scored numerous documentaries and short films, including the award-winning short film Remember Me, which won the award for Best Musical Score at the 2017 168 Film Festival. He also won Best Musical Score at the 2018 Los Angeles Live Score Film Festival for the Best Picture winning short film Arrow and Oil. George was an in-house composer for Electronic Arts for whom he created scores for some of the most iconic hits in the video game industry, including the Wing Commander, Ultima and Crusader series. After leaving EA he continued to compose and produce music for other games, including Spongebob Squarepants for Playstation 2, the epic orchestral score for Shaiya, Red Faction: Guerilla and the Certain Affinity game Crimson Alliance. George is also a much sought after orchestrator and arranger, having done all the arranging for Chilean singer Mon Laferte's 2019 Latin Grammy winning album Norma, horn arrangements for Aerosmith's Dueces are Wild tour, and orchestrations for the 2018 film The Grinch.

What's Next?

When taken for credit, Film Scoring 101 can be applied towards the completion of these related programs:

Related Certificate Programs

• Composing and Orchestrating for Film and TV Professional Certificate
• Orchestration for Film and TV Advanced Professional Certificate
• General Music Studies Professional Certificate
• General Music Studies Advanced Professional Certificate

Related Degree Majors

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Related Music Career Role

Employers look for skills learned in this course, when hiring for the following music career role:

Composer (Film)

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The Oxford Handbook of Film Music Studies

David Neumeyer, Marlene and Morton Meyerson Professor of Music and Professor of Music Theory, Sarah and Ernest Butler School of Music, The University of Texas at Austin

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This volume explores the history and evolution of film music studies from the silent film to the sound film era. It examines the relevance of various theories, including ontological, feminist, queer, critical and apparatus theories, in film studies and analyzes the influence of theater or opera music on the development of film soundtrack. It also discusses the history of video game music and presents two case studies involving the analysis of the musical scores for Cecil B. DeMille’s The Ten Commandments and Terry Gilliam’s 12 Monkeys.

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SUBJECTS — Drama/Musicals; World/WWII & Austria;

SOCIAL-EMOTIONAL LEARNING — Parenting; Romantic Relationships;

MORAL-ETHICAL EMPHASIS — Trustworthiness; Caring.

AGE : 6+; No MPAA Rating;

Musical; 1965; 174 minutes; Color. Available from Amazon.com .

Benefits of the Movie Possible Problems Parenting Points Selected Awards & Cast

Helpful Background Discussion Questions Social-Emotional Learning

Moral-Ethical Emphasis Assignments and Projects Bridges to Music

DESCRIPTION

This is the film version of Rodgers and Hammerstein’s classic musical based upon the true story of the singing von Trapp family of Austria and their flight from the Nazis just before World War II.

SELECTED AWARDS & CAST

Selected Awards: 1965 Academy Awards: Best Picture, Best Director (Wise), Best Adapted Score, Best Film Editing, Best Sound; 1965 Directors Guild of America Awards: Best Director (Wise); 1966 Golden Globe Awards: Best Actress-Musical/Comedy (Andrews), Best Film-Musical/ Comedy; 1965 National Board of Review Awards: Ten Best Films of the Year; 1965 Academy Awards Nominations: Best Actress (Andrews), Best Supporting Actress (Wood), Best Art Direction/Set Decoration (color), Best Color Cinematography, Best Costume Design (color). This film is ranked #55 on the American Film Institute’s List of the 100 Greatest American Movies of All Time (2006). It is ranked #4 on the American Film Institute’s List of the 25 Great Movie Musicals. This film is listed in the National Film Registry of the U.S. Library of Congress as a “culturally, historically or aesthetically significant” film.

Featured Actors: Julie Andrews, Christopher Plummer, Eleanor Parker, Peggy Wood, Charmian Carr.

Director: Robert Wise.

BENEFITS OF THE MOVIE

This wonderful musical is a classic work of popular art. Featured songs include: “Climb Every Mountain,” “I Have Confidence In Me,” “Something Good,” “The Sound of Music,” “16 Going on 17,” and “My Favorite Things.” It also provides background to the peaceful German annexation of Austria just before World War II. It shows some of the tactics used by the Nazis to intimidate those who were reluctant to follow their lead. The movie also demonstrates how love can transform a dysfunctional family.

POSSIBLE PROBLEMS

Parenting points.

If your children are very young, ages 6 – 8, just enjoy the film and the music. For children, 9 – 11 describe the Nazis briefly and their takeover of Austria. See the Helpful Background section. For children 12 – 15 ask and help them to answer the Quick Discussion Question. For children interested in knowing how things work, describe thunder and lightning. See the Thunder and Lightning in the Helpful Background section.

HELPFUL BACKGROUND

THE HISTORICAL CONTEXT

The story told in the musical is true, differing from the real story only in a few details, e.g., the family escaped in two automobiles and not on foot. The Von Trapps did not return to Austria after WWII, but settled in the United States. They arrived in New York with only $4 in their pockets. At first they made their living as touring musicians. After fourteen years they established a music camp in Vermont, naming it “Little Austria.” The Baron, who had been a decorated submarine commander in the First World War, died in 1947. Maria Von Trapp lived until 1987, reaching the age of 82. Maria Von Trapp’s only complaint about the musical was that it portrayed her as a “goody-goody.”

On March 12, 1938, Nazi troops peacefully entered Austria to effect the union of Austria and Germany. This was called the “Anschluss”. Germany and its friends in Austria claimed that there was a common Austro-German language and culture and that Austria should be a part of the Third Reich. As shown in the movie, the few Austrians who opposed the Anschluss were drowned out in a chorus of “Heil Hitlers.”

Most Austrians have never seen this film and the story of the Von Trapp family is not well known in that country. “Edelweiss” is not a particularly popular song in Austria. It is not a kind of folk national anthem as implied by this film. This movie is meaningful primarily to audiences in the U.S.

THUNDER AND LIGHTNING

The tops of clouds carry a positive electric charge but the bottoms of clouds are negatively charged, as is the Earth. The cloud sparks as a lightning bolt when the difference in the charges is great enough. About 65% of the occurrences of lightning are in a single cloud or from one cloud to another. Only about 35% of lightning bolts hit the earth. The speed of lightning can vary, but it is usually about 90 miles per second (143 KM per second). A lightning bolt has an inner core of about one inch consisting of the electrical charge and an outer core which consists of glowing ionized particles. When the electrical charge hits the ground, a counterstroke goes back up through the same route to the cloud. This is so rapid that we can’t see it.

Lightning is hot: about 30,000 degrees Fahrenheit or 16,700 degrees Celsius. It heats the surrounding air which then expands at supersonic speed. A sonic boom (thunder) is produced as the air moving away from the lightning breaks the sound barrier. The light from a lightning bolt travels at the speed of light. Thunder travels at the speed of sound which is much slower. If you are far away from a lightning strike, you will see the lightning several seconds before you hear the thunder. You can determine approximately how far you are from the lightning strike by counting the seconds between the lightning flash and the thunder and then dividing by five for the distance in miles, or by three for the distance in kilometers.

THE TELEGRAPH

The telegraph was the first practical method of sending information electronically. It came into common use in the first half of the 19th century. It has only recently been replaced by teletype, facsimile, and next day delivery services. Even after the telephone came into widespread use, messages that were important were sent by telegraph. The company that obtained a monopoly on telegraph service in the United States was called Western Union. In a telegram, the word “stop” would be used to indicate the end of a sentence.

DISCUSSION QUESTIONS

Quick discussion question:.

Should Captain von Trapp have stayed in Austria and resisted the Nazi takeover of his country or did he do the right thing in fleeing to the United States?

Suggested Response:

There is no one right answer to this question. The Nazis probably would have killed him and his family, but if enough people had stood up to the Nazis, Germany would not have been able to absorb Austria into the Third Reich. In the end, it is an issue of tactics.

1. See Discussion Questions for Use With any Film that is a Work of Fiction .

2. Describe how lightning makes thunder.

3. Why do you see the lightning before you hear the thunder?

4. Why wasn’t Maria able to conform to the rules of the convent?

5. Why did the Mother Superior think that Maria should try life outside of the convent?

6. In the film, what was the significance of the song “Edelweiss?”

1. How was Captain von Trapp as a parent before Maria’s influence took hold in the family?

2. Can you say whether caring or discipline is more important in raising a child? Are they mutually exclusive?

3. Von Trapp was a strict disciplinarian as a father. Did this mean his children thought that he didn’t love them? [Note that the word “discipline” comes from the Latin word, “disciplina” which means “instruction, knowledge”.]

ROMANTIC RELATIONSHIPS

4. As shown by this film what did Maria see in Von Trapp and what did he see in her? Is this usually enough to sustain a long term relationship?

MORAL-ETHICAL EMPHASIS (CHARACTER COUNTS)

Discussion Questions Relating to Ethical Issues will facilitate the use of this film to teach ethical principles and critical viewing. Additional questions are set out below.

TRUSTWORTHINESS

(Be honest; Don’t deceive, cheat or steal; Be reliable — do what you say you’ll do; Have the courage to do the right thing; Build a good reputation; Be loyal — stand by your family, friends, and country)

See Quick Discussion Question.

(Be kind; Be compassionate and show you care; Express gratitude; Forgive others; Help people in need)

See questions in the “Parenting” section above.

ASSIGNMENTS, PROJECTS & ACTIVITIES

See Assignments, Projects, and Activities for Use With Any Film that is a Work of Fiction .

BRIDGES TO MUSIC

If your child is musically inclined, get the score from the local library or music store and encourage him or her to play some of the music. If someone can play the piano, get the family together and sing some of the songs.

• Do re mi fa so la ti do – are the words used to denote the various tones of the diatonic scale in music.

SUPPLEMENTAL MATERIALS

Building vocabulary:.

convent, moon beam, mother superior, doe, re, Anschluss, wiener schnitzel.

7 Creative and Fun Film and Music Lesson Ideas for Your Music Classroom

Music and film are two art forms that go hand in hand and teaching this music topic can be a lot of fun for both you the music teacher and your music students. As a middle school music teacher, you have the chance to incorporate creative and fun lesson ideas into your classes that will pique the interest of your music students and encourage them to learn more about film and music. Read on to find out 7 film and music lesson ideas that will help your students understand the history and purpose of film music, soundtracks, and how music is used in film.

The best thing about teaching film and music is that it is a great way to end the school year or even teach while there is testing going on in the school and you need some quieter music lessons! Personally, I always teach this unit as the very last one for our Year 7 music classes. Teaching film and music also gives you a valid reason for watching a movie in class! Just make sure that you program it into your lessons so that you comply with your schools’ guidelines for showing movies in class.

You can grab yourself a copy of the Film Music Unit of Work from my Teachers Pay Teachers store here. Everything in this blog post comes from this complete, low-prep and ready to teach resource!

Are you looking for some more lesson ideas to transform your music lessons? Then grab your copy of the 5 Ways to Makeover Your Music Curriculum here.

Definition of Film Music

Before teaching about film and music in your music class, it helps to know what defines “film music”. Below is one definition that should help you and your students have a basic understanding before starting any lessons for film and music in your classroom.

“Film music, also known as movie music or cinematic music, refers to the music composed specifically for films or movie productions. This type of music is created to enhance the emotional impact of a movie scene or to support the narrative and create a specific atmosphere or mood for the audience. Film music can take many forms, including orchestral scores, popular songs, and sound effects, and it can be composed by a single composer or a team of musicians. Film music plays an important role in creating the overall experience of a movie and is often recognized as a crucial component of the art of filmmaking.”

Lesson Idea for the History of Film Music

In this film and music lesson idea, teach your students about the origins of film music and introduce your students to some of the first films that included music scores. Using YouTube clips from classic silent films, you can help your students understand how film music evolved and became an essential aspect of filmmaking.

The lesson in the Film Music Unit of Work also covers how and why music was developed for the original silent films and that the music was played live in the theater by a single musician or even a whole band!

Lesson Idea for What is Film Music

For this film music lesson students are introduced to how composing music for a movie has been developed into an art form of itself. This lesson also introduces the idea of using a musical theme for an entire movie or even for a particular character in the movie.

Lesson Idea for What is a Movie Soundtrack

Today, our music students have grown up with film and music and will often know a movie simply by the soundtrack from the movie. But this wasn’t always the case, the music and soundtracks for films have evolved over time and have become a whole entire industry of their own. It’s important to teach your music students about this key part of music history.

Playing a film’s soundtrack in class can be a great way to help students learn about the role of music in films. In this lesson idea, students can listen to soundtracks from a variety of films, identify the various instruments used in the score, and analyze how the music changes the mood and intensity of different scenes.

Lesson Idea for How Music is Used in Film

The next lesson in this unit of work for music and the movies is to explore how music is used to enhance the mood, frame the story, and create suspense in films. In this lesson your students will be introduced to the 5 main ways that music is used in a scene for a movie –

• To establish, maintain or change the mood
• To accompany the main title of the film – The Overture
• To give a sense of location
• To create and support movement
• As a theme for a character

Once your students know these 5 main ways that music is used in a film, it is a good time to start watching a movie firstly with the sound off and ask students what type of music might be in the background. Then play the scene with the sound on and see who guessed the type of music correctly!

Film and Music Listening Lesson Activities

Throughout this unit of work there are Elements of Music listening worksheets for you to have your students listen to and complete. Each listening lesson uses music from a famous and well-known film, and if you don’t want to use that music, simply change it for something your students will engage with and keep the questions in the worksheets!

There are a lot of film music listening lessons included, you don’t need to complete every single one – just the ones that make sense for you and your students. OR why not try compiling these listening lessons into a Film Music Listening Journal and have your music students complete as an in-class assignment!

If you would like to know more about the Elements of Music, check out this blog post here.

Film and Music Songs to Perform in Class

Another feature of this Film Music Unit of Work is the inclusion of suggested songs to perform in class. You are given 10 songs with links to guitar chords and the actual song to listen to and learn.

Of course, you do not need to use the ones suggested and can use whatever music you have available to you OR choose music that will suit your students and their personal likes.

Suggested Movies to Watch & Study in Music Class

After completing the lessons for film and music, try watching a movie to see how the music is used. Some of my all-time favorite movies for this are – The Sandlot, this has a great theme music for a character, and uses music very cleverly to set mood, change up action and more. It’s certainly an old movie, but that is also the beauty of it – your kids probably have not watched it before!

Another few great ones to try are – Shrek, Lion King and School of Rock. Like the Sandlot, they also use music very cleverly throughout each film. The added benefit of these movies is that the music used in the films is a bit easier to access and perform in class. My own music kids could never get enough of playing I’m a Believer from Shrek!

Film and Music Composition Assignment

After completing the lessons on the film and music unit of work, you could have your students try to compose their own movie music. This assignment has everything you need for your students to compose their own film music. You just choose the pages you want your students to complete and let their creativity go!

You can get your own copy of the Film Music Composition Assignment here

Incorporating film and music into your music classroom lessons can be both fun and educational. By implementing these 7 creative and fun film and music lesson ideas into your middle school music curriculum, you can help your students develop a better understanding and appreciation for music and film. Whether it’s analyzing movie soundtracks or creating their own soundtracks, these music lesson ideas can inspire your music students and bring a new level of excitement to your music classroom.

Until next time

Happy Teaching

Julia from Jooya

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The Complete Film Composer Outline

Highlights of Module 1:

Film scoring overview.

●  We will breakdown important terminology and common Film/TV lingo.

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●  You will learn about different styles and genres of film and TV music .

●  Differences in film score sounds over time, and how past score and current score is important to listen to and be aware of.

Highlights of Module 2:

Orchestration.

●   Deep dive orchestration with David Shipps and individual lessons.

●  Intro to orchestration.

●. What is orchestration?

●  W orking with an orchestrator.

●  W hat to expect when recording live.

Highlights of Module 3:

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●  How to manage and build a scoring template in your DAW .

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Midi mockups & controllers.

 ●  Mastering controller techniques

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Highlights of Module 8:

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Hear From Our Students

View sample lessons.

Sample Lesson 1: Rhythm & Meter

Sample Lesson 2: Braams

Sample Lesson 3: Keyswitching

Sample Lesson 4: Music Business

Frequently Asked Questions

What do i need to start this program.

No matter where you are in your musical journey, you can start this program.

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While you will be learning how to make the most incredible mockups with samples, the most important thing to know is how to create music that augments the scene.

You can grow in your sound libraries but The Complete Film Composer will make you a better composer. People who have taken my class have started out with little film scoring knowledge and are now scoring real-world projects and MAKING MONEY !

How does the live training work?

The live training program will start April 18 at 7pm Central via zoom . 

Once you pay and register and the week before class starts you will be sent a zoom link to attend the class. You will also be filled in on class details and syllabus. 

If you cannot attend a live class DONT WORRY! We will be recording all the sessions for your review.

The live class will reference THE COMPLETE COMPOSER ONLINE COURSE and have additional training materials and projects.

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University programs at Berklee, UCLA, USC, etc., are tens of thousands of dollars!

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Film Music Assignment

PERS 2390- Music in Film, Dr. Yu

Film Music Assignment #1 Guidelines

Submit your assignment onto BlazeVIEW under Assignment Folder, “Film Music Assignment #1”

The purpose of this assignment is to describe the usage of a classical composition in a film in a narrative dialogue using the terminology described thus far in the course. You want to be able to tell the reader what you are hearing and seeing by using proper descriptions and content, as if the reader has never watched or heard the scene.

Many films use classical music compositions to help direct dramatic or passive action on screen. The focus of this assignment is for you to showcase your critical musical analysis skills learned thus far in the course with specific scenes and specific classical music compositions as the music. The primary focus of your narrative should be on the music, not the plot. You only need to pick one of the scenes below.

Knowledge Acquired and Needed for this Assignment:

·        The Elements of Music lecture

·        The Elements of Drama lecture

·        Cinematography lecture

·        Editing lecture

·        Copland’s Five Aesthetics of Film Music lecture

List out, in bullet form , the Elements of Music, Elements of Drama, cinematography, editing, and Aesthetics from one of the following scenes below.

Guidelines:

1.       Pick a scene from the following list.  Only pick one  of the following scenes to use in your critical analysis.

X-Men Apocalypse,  “No more superpowers”

https://youtu.be/LplGEpkgbGM

Music Used: Ludwig van Beethoven, Symphony No. 7, second movement: Allegretto

Mission: Impossible, Rogue Nation , opera scene

https://youtu.be/jU2TU–E6OE

Music Used: Giacomo Puccini opera,  Turandot , Act III, “Nessun Dorma”

Philadelphia , describing an opera scene

https://youtu.be/DwRHwKZSu-w

Music Used: Umberto Giordano opera,  Andrea Chenier , “La Mamma Morta”

Platoon , montage

Music Used: Samuel Barber,  Adagio for Strings

Five Easy Pieces , playing the piano

Music Used: Frederick Chopin, Prelude in E minor, Op. 28 No. 4

Raging Bull , opening credits

Music Used: Pietro Mascagni, Intermezzo from  Cavelleria Rusticana

2.       Look up the original composer and the piece in the scene. Based on the information you can find, include the instrumentation (can be found by searching for the piece of music and instrumentation). If there are singers present, you only need to mention male or female singers.

3.       Describe what is occurring in the scene with the music. What do you think is the purpose of the music in the scene?  This is not a synopsis or plot summary , but what actions are occurring in the scene. This may take 2-3 sentences to explain.

4.       Name one Aesthetic of Film Music present in the scene with proper justification. If you see and hear more than one, justify all Aesthetics mentioned. Hint: there are hardly ever instances of more than 2 Aesthetics. None of the above are more than two. This may take 2-3 sentences to explain.

5.       Include the musical content of the scene. Include the following criteria:

·        Which instruments specifically do you hear and when? (Time stamp or cinematography cues)

·        What is the dynamic? Be specific with when. Remember, dynamics change constantly.

·        What is the tempo? Be specific as a general tempo, no BPM. Tempos likely stay the same the entire scene.

·        What is the texture? This may take 2-3 sentences to explain.

·        Assume the reader does not know the proper terminology, briefly define the terms above.

6.       Briefly describe the cinematography and editing techniques of the scene and how it relates to the music present in the scene. Be specific. For instance, do you hear any changes in the criteria from No. 5 when there are cinematographic elements included in the scene? This may take 5-6 sentences to explain. Hint: watch the scene repeatedly and pause and write when you see and hear different elements.

Assignment Criteria:

·        The assignment will be submitted onto BlazeVIEW and TurnItIn will be active.

·        Style: 20 points

o     All correction punctuation.

o     Correct spelling.

o     Correct grammar.

o     Correctly italicize titles.

·        Content: 80 points

o     Addresses all components of the assignment in a thoroughly thought-out, including discussed terminology and musical cues.

o     Each purposeful task question was given careful and thoughtful consideration with depth and detail, proper justification, and answered in a logical and progressive manner.

o     Takes the reader through your scene in an insightful manner showing engaging style and purpose. (Do not use fluff words, filler words, or random words to match a word count quota.)

Approximate Time to Complete (not to be included in the paper at all, just for your reference)

·        I wrote my own narrative in preparation for this assignment to put myself into your shoes. This assignment took me approximately 35-minutes to complete. Do take into consideration that I do know all of the major works listed, and have played many of the works, so that does take a little bit of time off. Expect 1-2 hours to complete.

Late Submission

·        It is at the discretion of the instructor whether late assignments will be accepted. If a late assignment is accepted, the student will receive a reduction to the assignment no less than half of the assignment’s worth. This is non-negotiable.

I suggest taking a screenshot of your submission in case of technical difficulties, which can sometimes occur.

Have fun with this assignment! Put some personality into your response, enjoy it.

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Beatles movie 'Let It Be' is more than a shorter 'Get Back': 'They were different animals'

In the most basic terms, “Let It Be” is the abbreviated version of “Get Back,” with fewer takes of “Don’t Let Me Down” and no toast .

But that oversimplification of what’s wrongly remembered as The Beatles’ breakup documentary doesn’t convey how different Michael Lindsay-Hogg’s 1970 film and Peter Jackson’s 2021 docuseries are as viewing experiences.

“They were different animals in a way, but they really are looking at the same period of time through different lenses,” says Lindsay-Hogg, whose 80-minute movie about the making of The Beatles' final album arrives Wednesday on Disney+ . The film, largely unavailable for the past 50-plus years, has been newly restored by Jackson's team from a muddy 16 mm negative. 

“I wanted to put in what I was noticing was going on, which was that (the four Beatles) had started to go their separate ways," Lindsay-Hogg says. "Not musically so much, but they were starting to live different lives. They weren’t 22 or 23 anymore, they were nearly 30. They were different, and consequently, the music was different. So that’s what I wanted to show.”

The 84-year-old director says the movie has been unfairly maligned for magnifying the widening divisions within the band, and he’s not wrong. “Let It Be” sometimes plays like a greatest hits cut of John Lennon , Paul McCartney , George Harrison and Ringo Starr squabbling, minus the context afforded by the almost eight-hour docuseries. 

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By contrast, in “Get Back,” the four friends pull off a miracle on deadline, sweating out new songs through repetition, seemingly fortified only by trays of tea and dry bread. There’s a distinctly different vibe, even though the source material is the same. “Let It Be” is more easily understood after seeing “Get Back.” And it underscores the need for a tighter, theatrical-length cut of Jackson’s docuseries.

“The new version, looking and sounding so great, too, is maybe going to help (fans) see it in a different way,” Lindsay-Hogg says.

Here’s what else to expect from “Let It Be” if you’ve already seen “Get Back”:

George Harrison doesn't quit The Beatles in 'Let It Be'

McCartney and Harrison have a squirm-inducing conversation about George’s guitar work in both versions of the story, but in the longer docuseries, the friction culminates in Harrison quitting the band. Why is that left out of “Let It Be”?

“They never said, ‘Whoa, I don’t think the audience is going to like us doing that’ because that was the kind of discussion that takes place in many creative instances,” Lindsay-Hogg says. “Everybody doesn’t see things from the same point of view all the time.”

He points out: “When we started making the movie, there were four Beatles. When we finished shooting it, there were still four Beatles. George had gone off for, let’s call it a little holiday because he was frustrated, but he came back.”

Starr, who has suggested he prefers Jackson’s take on the story, still thinks the rerelease of “Let It Be” is a good thing. “We did have rows,” he acknowledges to USA TODAY. “George did leave and 'What is (John's future wife) Yoko (Ono) doing here?' and all of that stuff did go on. That's how it was with four guys in a room."

Yes, there are many moments of joy in 'Let It Be'

Lennon and McCartney cheerfully team up on a single mic to run through ‘Two of Us,” and their clear chemistry, even at this late stage, is electrifying. And when Harrison breaks out “I Me Mine,” John and Yoko engage in an extended, heartfelt waltz around the studio.

“I have always thought it’s uplifting, and the perception was colored by when it came out the first time,” says Lindsay-Hogg.

The Beatles' famous rooftop concert at Apple is transformative, even at a crisp 20 minutes

What “Let It Be” lacks in connective tissue is forgiven by Lindsay-Hogg’s brilliant insistence on a live performance to tie a bow on the footage, which gave rise to one of the most iconic shows in rock ‘n’ roll history.

The director remembers that the four bandmates agreed at one point to stage a concert in an amphitheater in Libya for the film’s big finale. “I had this idea that 5 a.m. comes and the roadies start to lay out the instruments, and as the sun is coming up, The Beatles come out and start to tune up.” When nighttime rolls around, “you have the whole world there and The Beatles doing ‘Let It Be’ torchlit.”

In the end, “they wouldn’t go to the Mediterranean, but they would go up two floors in their own building. We only had one shot … so I knew it was a concert which I had to get right.”

When the Fab Four warily step out for their lunch-hour show on that frigid January day, the tensions evaporate when the first chord is played. 

“There was really joy in their playing and their connection to each other, the way they looked at each other and bounced off each other,” Lindsay-Hogg says. “Did anyone know they were going to break up and it would be the last concert? No.

“But I knew we had something magical which showed them at their very best.”

Contributing: Melissa Ruggieri

Looking for reliable options to stream “Let It Be” on Disney+? Check out USA TODAY Home Internet for  broadband service plans  in your area.

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Let It Be review – reissued Beatles film takes long and winding road to eventual acclaim

Reviled by the band when it came out and widely thought of as miserable, the film – restored to its original format – actually offers light and insightful moments

T he most surprising thing about the reissue of Let It Be is that it commences with footage shot not in 1969 but last year: an interview between Peter Jackson and the film’s director, Michael Lindsay-Hogg. If nothing else, this suggests that Lindsay-Hogg is a good sport, given that Jackson’s eight-hour 2021 docuseries The Beatles: Get Back substantially retold the version of events depicted in Lindsay-Hogg’s film about the Beatles’ 1969 recording sessions at Twickenham Studios and in the basement of their Apple HQ.

Furthermore, Get Back made Lindsay-Hogg himself look like a bit of a ninny, ceaselessly cajoling the Beatles to perform a filmed live performance in an amphitheatre in Tripoli – “Torchlit! In front of 2,000 Arabs!” – undaunted by various Beatles telling him to stick his idea, and indeed the Beatles apparently splitting up in front of him: his reaction to George Harrison quitting the band midway through filming was to recommence badgering a shattered and tearful-looking Paul McCartney about the amphitheatre gig. No wonder Jackson introduces him with the line: “I guess people might be asking themselves why you might be here talking to me.”

But he is, and delightfully, it’s not long before he’s returned to his favourite subject: 55 years later, he still seems to think the film’s biggest failing was its noticeable lack of torchlit Arabs. “2,000 people in an amphitheatre! People would have come across the desert!” he enthuses, then adds, sadly: “I almost had it, the amphitheatre.” He patently didn’t, but to his credit Peter Jackson nods sympathetically, which suggests he might be a good sport too.

You get the feeling that Lindsay-Hogg turned up in the hope of burnishing the reputation of Let It Be, a film that he says “didn’t get a fair shake” on release. None of the Beatles attended its premiere or the Oscars ceremony, where they won best original song for the title track; all of them subsequently criticised the film in one way or another; the reviews largely stank; and it’s been legally unavailable for over 40 years.

But the restored version burnishes its reputation on its own. It’s certainly a flawed film, not least in the fact that it presents its footage entirely without context. It never explains what the Beatles were doing – rehearsing for a projected live special and being filmed for an accompanying behind-the-scenes documentary – which amps up the sense of aimlessness that haunts the Twickenham sessions. Nor does it explain why the action suddenly moves from Twickenham to Apple HQ and the mood distinctly lifts (partly because the idea of the TV special and the torchlit Arabs have been permanently nixed as a condition of Harrison returning; partly because of the presence of ancillary keyboard player Billy Preston , an old friend from their Hamburg days in whose company the Beatles felt obliged to play nice).

Yet it’s nowhere near as bad as its myth suggests. There are some fantastic moments – Lennon and McCartney giggling as they harmonise on Two Of Us ; Ringo’s slapstick expression of shock when McCartney’s young stepdaughter Heather hits one of his drums; the band clearly enjoying a rough-edged jam through the old rock’n’roll standards Rip It Up and Shake, Rattle and Roll; the footage of the concert on the roof of Apple HQ – and some strikingly insightful ones: there’s a distinctly frosty atmosphere when McCartney cheerleads a visibly unimpressed Lennon and Harrison through a version of Maxwell’s Silver Hammer, a song he mock-apologetically introduces as “corny”.

Nor is Let It Be anything like as depressing as it’s supposed to be. In truth, its overall tone doesn’t seem that different from the ostensibly happier or more rounded Get Back: a handful of arguments and moments of froideur interspersed with clowning for the camera. There’s certainly a bit less of the latter here than in Jackson’s version, but that has the effect of making said clowning seem less forced. If George Harrison’s general mood seems to be summed up by the baleful strains of his song I Me Mine (“I don’t give a fuck if you include it,” he shrugs to Lindsay-Hogg as he performs it for the first time), then said mood is punctured by Lennon and Yoko Ono waltzing around the studio as it plays, something they clearly did too spontaneously for Lindsay-Hogg’s cameras to catch it properly: the footage is largely out of focus.

Indeed, you could argue that Lindsay-Hogg rather pulled his punches, or had his punches pulled for him – by his account, Let It Be was an hour longer before the Beatles saw it and demanded cuts. You see the argument between McCartney and Harrison, but not the latter walking out, nor do you hear McCartney and Lennon’s covertly taped discussion about replacing him with Eric Clapton. Also missing is the moment from Get Back where producer Glyn Johns fruitlessly attempts to dissuade John Lennon from getting involved with Allen Klein, a crook whose takeover bid for the post of Beatles’ manager undoubtedly hastened the band’s split.

It doubtless all seemed a lot more miserable to viewers in 1970, with the news that the Beatles had split up – announced a month before the film premiered – still ringing in their ears, and the footage onscreen far more grainy, grim and grimy-looking than it is today: the original film was blown up from 16mm to 35mm for theatrical release, affecting the picture quality – a situation that’s been rectified in restoration. Perhaps an audience reeling from the Beatles’ breakup and a band in turmoil wasn’t the best judges of Let It Be’s quality – neither an overlooked masterpiece nor the disaster the Beatles and the critics thought, it’s finally getting a fair shake.

• The Beatles
• Pop and rock
• Peter Jackson
• Documentary films
• Music documentary

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Quentin Dupieux’s ‘Daaaaaalí!’ Bought by Music Box for U.S. Distribution (EXCLUSIVE)

By Elsa Keslassy

Elsa Keslassy

International Correspondent

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Music Box Films has acquired U.S. distribution rights to “Daaaaaalí!,” the latest film by Quentin Dupieux whose upcoming movie “The Second Act” will world premiere on opening night at this year’s Cannes Film Festival .

A comedic and unpredictable tribute to Salvador Dalí, “Daaaaaalí!” premiered out of competition at the Venice Film Festival, followed by screenings at the BFI London Film Festival and Rotterdam.

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“We were thoroughly charmed by the playful, antic spirit of Quentin Dupieux’s film,” said Music Box Films’ head of acquisitions, Brian Andriotti. “He has crafted a lovely homage, not only to Salvador Dali, but to his erstwhile collaborator Luis Buñuel, delivering a film that’s constantly re-inventing itself, pulling the rug out from under the audience and re-setting the table with each new sequence,” Andriotti continued.

Kinology’s Grégoire Melin, who handles international sales on the film, pointed out to Music Box Films’ track record with French hits, such as “Tell No One,” “Mesrine: Public Enemy Number One,” and “Augustine,” among others.

“Music Box Films is one of the last quality distributors for French films in the US, and I couldn’t dream of a better fit for Quentin Dupieux’s most eccentric film and biggest success,” Melin added. The deal was negotiated by Andreotti and Melin.

Kinology is also repping Dupieux’s “The Second Act,” starring Lea Seydoux, Vincent Lindon, Louis Garrel and Raphael Quenard.

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The South by Southwest festival is expanding to London in June, 2025.

The SXSW brand, which originated in Austin, Texas almost four decades ago, has grown to become synonymous with the celebration of the convergence between creativity, culture and technology. London is the latest expansion outpost, after SXSW launched a branded festival in Sydney, Australia last year.

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SXSW also provided early showcases for musical acts including Amy Winehouse, Billie Eilish, Dua Lipa and Ed Sheeran.

“As a life-long fan of SXSW I truly believe that it’s more than an event – it’s a movement, a platform where the world’s greatest minds, musicians and motivators come to share their passion and their vision of the future,” said Randel Bryan, Managing Director of SXSW London. “SXSW London will build on Austin’s incredible legacy…and also provide a platform for the next generation of creative talent and we will be working hard to ensure that opportunities for learning, employment and community uplift are at the heart of everything we do.”

Over the course of a week in June, SXSW London will take over dozens of venues, galleries, clubs and other spaces in Shoreditch, east London, renowned as a vibrant centre for creativity and technological innovation, as well as for its diversity, energetic youth culture, global cuisine and nightlife.

London Mayor Sadiq Khan said: “I am delighted to welcome SXSW to London for the first time ever – confirming our place at the heart of Europe’s tech and creative sectors and as a global capital of culture.

“When I was part of SXSW in Austin in 2018, I saw first-hand the electric atmosphere of innovation SXSW creates and I can’t wait to be part of it again.  This is a historic opportunity for London to once again bring the world’s most exciting talent together as part of our mission to build a better and more prosperous London for everyone.”

Added Culture Secretary Lucy Frazer: “Festivals have been a vital part of British culture for decades and a key part of the reason why the UK is known the world over for creative excellence.

“From film and TV to fashion and music, London is a global hub for cultural and creative talent, so it’s fantastic that SXSW is coming here to bring together innovators from across these sectors and demonstrate why the UK’s creative industries are the envy of the world.”

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