22 May 2015

Kubrick, Monteiro & Schubert


I regard these two scenes among the greatest scenes in the history of film. Not only are both utterly strange, picturesque, mysterious and haunting, but they both house Franz Schubert’s Piano Trio in E flat, op. 100 on the soundtrack (and in some ways the music houses the scenes). Anything and everything in music can be utilized in a film, from deployment as a device to generate emotion, or set elsewhere in formal and structural conditions. No matter if a piece has been completely overused throughout the years, or entirely unknown, the only important factor is how the filmmaker chooses to use it, and of course the final question being: does it work? 

I strongly believe that if you do not possess a very serious interest in music you should never attempt to make a film! From applying it directly to the film from a professionally recorded source, or having it composed for you, or even composing/performing it yourself, music can transform a moment or a gesture. You can learn everything from music and it can translate to any other practice. In filmmaking, music teaches you how to create a rhythm/pace, and create an internal structure, even if there is no soundtrack.

Stanley Kubrick’s Barry Lyndon (1975) HERE

João César Monteiro’s Silvestre (1981) HERE

Franz Schubert HERE