Cinema Sounds

"If I weren't a director, I would want to be a film composer."
Steven Spielberg

Most films have music. Some films would not be what they are without their music. Film music, often ignored by audiences, can be great music. What’s more, it can elevate a potentially ordinary film to greatness.

Cinema Sounds presents a series of films that succeed in large part through their music. Richard Guérin, who has produced many recordings of great film music, will join us for prescreening examinations of the art and craft of film scoring, as we feature some of the greatest musical scores in the history of cinema. Richard has worked for many years with award-winning composers of film music such as Philip Glass (Candyman, The Truman Show, The Hours) and Elliot Goldenthal (Batman Forever, Interview with a Vampire, Alien 3).

Join us for these cinematic and musical adventures.


THURSDAY, SEPTEMBER 9, 7 pm
CLOSE ENCOUNTERS OF THE THIRD KIND - BUY TICKETS

Score by John Williams
Directed by Steven Spielberg

If there were a GOAT (greatest of all time) award for film composers, Williams would surely be on everyone's contender list. Williams has named this score as one of his own favorites. As seems fitting. Among other feats of cinema scoring, this film's music represents an intergalactic conversation between the human race and alien visitors. It rises to the occasion.

The film itself is great and deserves its score. Had CLOSE ENCOUNTERS not been released the same year as STAR WARS, it probably would have been the sci-fi movie of the year. Williams famously composed scores for both films, and Spielberg engaged him for CLOSE ENCOUNTERS while he was still working with George Lucas on STAR WARS. (And he lived to tell the tale.)

THURSDAY, OCTOBER 14, 7 pm
PSYCHO - BUY TICKETS

Score by Bernard Herrmann
Directed by Alfred Hitchcock

October demands horror. Fortunately, this quintessential thriller, arguably the first slasher movie ever made, has one of the great film scores by another surefire GOAT contender. It is generally acknowledged that PSYCHO owes much of its greatness to Herrmann's score.

A 2010 Wall Street Journal article stated that “Bernard Herrmann did more than just enhance 'Psycho' with his music; he probably saved it.”

Hitchcock himself said, "Thirty-three percent of the effect of 'Psycho' was due to the music.”

Join us in taking a look at Herrmann's magic and how he made it work.

 

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