Presentation will be assessed on the quality and level of discourse on:
How the music influences the story
Whether or not the music overwhelms the story
How the music affects the characters.
Whether or not the underscore can stand on its own.
Whether or not a different style of music may have been used and why it would or would not work.
Please note: The number of references you use will affect your mark. (At least two references must come from books.) How well you cover the assessment topics will affect your mark. Use of examples and supportive evidence from within the film and from other films will improve your mark. Worth: 30% of total BDM202 Paper.
7 minute presentation with film clips to support argument.
Notes taken while watching Hot Fuzz
sounds: police whistles and sirens over Universal tag. according to audio commentary, these 27 are all historical police sounds
intro'd to Angel with instrumental of Adam Ant's "Goody Two Shoes" over training montage
sound cue to emphasize moment: Angel demands to speak to inspector and music starts to crescendo then resolves in squeaky wheels and elevator bing bong noise as inspector quickly appears.
ominous, forbidding music comes up under confrontation when Angel challenges chief inspector on his reassignment. Hits apex with pop of champagne? or party popper when he discovers that the whole squad is behind the transfer and throwing him an instant farewell party in the next room.
electronic music playing? twinkly sound? buzz of cell phone as character of Angel's girlfriend Janine introduced. 5:45 mintes into film
Score turns to sad acoustic guitar as she mentions their break up.
Sad acoustic guitar. . sad guitar now joined by twinkly music sounds again. twinkly sounds = mystery/suspense? Sad guitar as Angel moves into room. twinkly mystery music as Angel goes out to the local pub.
9:46 minutes in. Angel notices "The Hoodies" and music stinger underscores their presence.
10:02. snare drum solo as Angel enters pub.
when kids are removed from pub, music stops and pub goes silent.
mystery twinkly music as Angel notices fountain dedication plate outside and graffiti
12:26
tense music as drunk Danny nearly runs Angel over.
marching "he means business music" as Angel walks Danny to jail and rounds up other misdemeaning kids that have been kicked out of pub.
13:30 booking montage: camera flashing sound effects and rock and roll song by director Edgar Wright's favourite musician
14:03 sound shows change of scene. Next day, bright and sunshiny, Angel takes a jog around the town and townspeople greet him by name. 60s pop song "Village Green Appreciation Society" by The Kinks plays under the scene
16:51 chipper score and wah wah wah trombone music as Angel is taken around the police station and introduced to the other officers.
18:13 heavenly sting noise when they go into neighbourhood watch center control room.
18:49 swoosh emphatic noise as Frank wads up surveillance photos.
18:51 chipper score/police station theme ends as group eat dessert.
19:25 jangly guitar rock music Baby Fratelli by The Fratellis as officers go to the pub for lunch. ambient pub noises in background.
21:08 music changes to drums as Danny begins to interrogate Angel about his exciting cop life in London.
21:46 abrupt end to music as scene changes to NWA meeting. background orchestral music.
23:18 score takes a grim turn as NWA business turns to describing blight of Living Statue with accompanying stinger?
23:39 music gets upbeat "Slippery Rock 705" by Stavely Makepeace as angel talks to school about his job.
25:00 boom as Angel realizes he really has to go out on a swan call out. no music
25:15 music returns as they continue boring rounds ending at 25:35
silence then ominous music as angel questions if there's something suspicious about townspeople.
27:20 ominous music creeps in to underscore menace of Timothy Dalton's exchange with Angel
28:17 exciting chase score as Angel and Danny pursue shoplifter
29:00 crescendo as Angel blocked by group of mothers and prams
29:13 exciting music as Angel vaults of garden fences
29:27 goes high guitar then stops as Danny tries to vault and fails
30:10 music stops as shoplifter knocked out by thrown spray can
30:30 booking montage music by director's favorite singer
30:50 ominous Skinner music with skeezy saxophone notes
31:24 on radio in cop car
32:13-17 world's fastest, in terms of length, car chase told entirely with sound effects: zoom, fruit machine payoff?, vroom, siren, turn signal, braking.
33:10 snare drum beat underneath ticket writing scene
Most scenes with Angel and Danny talking have no music. so you can hear the jokes?
34:30 singing voices under death scene of Baz Luhrman's William shakespeare's Romeo and Juliet am-dram musical, then cheesy musical hall version of Cardigan's "Lovefool"
35:20 at pub
36:20 ominous music under Dalton "threat" to Eve Draper
38:15 suspense music crescendo under Angel taking phone call about murders
38:25 police procedural music as decapitated heads and car examined by police
39:00 police crime scene montage
39:30 Dire Straits Romeo and Juliet song on Skinner's car radio
41:05 military drums as cops drive to hedge clipper's house
41:50 crescendo sound fx under Angel's question "What do you mean THIS one?"
41:52 ticky tocky wood block music under reveal of mass cache of weapons
42:10 music turns to straight ticking like a bomb might explode when sea mine is banged on.
42:30 Miami Vice rock guitar music as cops and webbly flee barn then back to ticky tocky, which stops when no bomb goes off
43:00 procedural montage music as they bringing all of the seized weapons and install them in evidence lockers
43:40 sirens and fun rock music as Danny and Angel go to pub to socialize
45:00 sad accoustic guitar as Angel describes why he wanted to become a cop and Danny tells his cop story
46:00 back to pub rock when Danny does ketchup pack joke
46:10 drinking montage with hey hey hey song
46:20 ominous music under Skinner and next victim's chat with Angel
47:35 scary slasher music as dark hooded slasher figure revealed outside drunk man's house
48:15 slasher music again as hooded slasher in drunk's bathroom and knocks him out
48:30 sad guitar under Angel's soul searching over his constant on-job attitude
49:30 music points one way but action leads another: you think it's swelling to a romantic kiss between Danny and Angel "I can show you how" then heavenly music as Danny reveals his massive DVD collection of action movies
49:48 setting up the murder of the drunk man musical montage
49:58 watching Point Break with that movies dramatic music under the scene.
50:18 drunk man murder musical montage
50:40 Danny hits remote control button and explosion sound effect then leads to drunk man's home exploding
50:48 dramatic Bad Boys 2 music under scene of Danny and Angel getting news about drunk man's death
51:10 dramatic police lightly throbbing procedural music as crime scene examined with doctor and police
51:53 crescendo of sound leading to Skinner driving by crime scene, again, in car with song "Fire" by The Crazy World of Arthur Brown playing on radio
52:00 rising violin? crescendo as Angel considers his suspicions about Skinner and the explosion
52:30 boom boom boom sound effects as The Andies taunt Angel to prove his suspicions
53:05 whoosh sound effect when church big high thingie revealed, like when Angel came into town, soundtrack of peppy 60s pop song "Village Green" by The Kinks playing over the church fete.
53:40 xylophone? music like the scene with Janine? Angel sees newspaper man talking to florist and Skinner watching them both.
53:45 slasher psycho strike of music startles Angel as detective Andy taunts him
54:02 Danny takes Angel to gun range. that kind of twangy guitar surf guitar? instrumental music from the 60s playing. meant to be fun
54:30 boom boom and dramatic music as Angel takes up the air rifle and takes down the targets at the game
55:08 ominous music comes up as newspaperman makes appointment to talk, then priest gets Angel up to pull winners from the tombola
55:35 crash of thunder sound as 3 o'clock strikes, tombola, scary noises as hooded figure goes up tower, male voices chanting over score as hooded figure gets into position on roof, ominous chords as newspaperman shown waiting for Angel, scary horror music as newspaperman's body with piece of church tower instead of a head collapses on ground.
57:30 end of sequence, silence as police come together to discuss crime
57:50 fast music as Frank springs into action and gives cops jobs to do. crescendo sound makes you think important job is up next but leads to
58:14 Angel and Danny forced to stand on guard duty next to body while everybody else works. rain storm
59:00 sad music comes up as Angel yells as Danny who runs away. music continues as Angel goes home to discover Danny has left him the gorilla stffed toy he won him.
1:00:00 dramatic music underscores Angel remembering The Andies taunt that he could read all the newspaperman's articles himself if he wanted to investigate so badly.
1:00:15 investigation montage and hard rock music as Angel goes through paper
1:00:42 Angel tries to make up with Danny and bring him into investigation
1:01:05 sustained noise under cop telling Angel someone from London has called goes into Angel and Danny walking the beat and nutting out the case. fast drumming and clapping music under their discussion of how everyone is connected
Hot Fuzz soundtrack
The Music of Hot Fuzz
where each song appears
AllMusic Review by Heather Phares [-]
Like Shaun of the Dead, Edgar Wright's Hot Fuzz has a soundtrack that is witty, well-chosen, and steeped in British rock history. Kicking off with Adam Ant's "Goody Two Shoes" and including the Crazy World of Arthur Brown's "Fire" and the Kinks' "Village Green Preservation Society," the album gathers a treasure trove of classic but not over-exposed, tracks, along with some newer ones: the Fratellis' barreling blend of punk, glam and pop sounds just as good on "Solid Gold Easy Action Town" as it did on Costello Music. However, the deeper the soundtrack digs, the better it gets: "Dance with the Devil" by legendary drummer Cozy Powell and Stavely Makepeace's throbbing instrumental "Slippery Rock 70s" sound weirdly familiar but hard to place, making them perfect musical cues for a film that goes from comedy to action to horror and back again. Likewise, the soundtrack touches on the film's police theme without being heavy-handed (no songs by the Police, for example); Supergrass' "Caught by the Fuzz" and XTC's "Sgt. Rock (Is Going to Help Me)" keep things witty and light, while Jon Spencer and the Elegant Too's heavy, funky "Here Come the Fuzz" feels equally inspired by Jimi Hendrix and the themes to '70s cop shows. Indeed, the pop songs on Hot Fuzz are so bright and brash that "Hot Fuzz Suite" -- which compiles excerpts of David Arnold's score into one 22-minute track -- sounds even darker and more intense by comparison. Moving from gentle acoustic moments to electronica, jazz and horror-inspired choral chanting, Arnold's music is accomplished and versatile, but might have had more impact on the album if it was presented as separate cues. Either way, Hot Fuzz is a very enjoyable, smart soundtrack.
| by Rafael Ruiz June 29, 2007 | ![[3 / 5]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sQRfvwwEurTbrbylNOIqsbfuC1g8NVNDWGkU1ugLTVfPgF4Ji3q8mkHx9s_xgMbdwkhuMJOu6gszIVun9kYe1j8a8P_Xr7gVg4f-sXKsU=s0-d){kind=small} |
The album also shows off the movie's strong buddy cop homage. David Arnold's score is given a well-rounded twenty plus minute suite. His parody score sends up most specifically the Media Ventures/Jerry Bruckheimer style hard rock/ driving horns with the Harold Faltermeyer styled guitar solos. Arnold also works in some of the lonely Eric Clapton solo guitars from the Lethal Weapon films along with subtle elements of Michael Kamen's musical stings. Arnold also layers in some cheeky Jerry Goldsmith references (specifically The Omen) and sends up his own James Bond work at the same time. Pretty nifty. John Eric Alexander's trailer music to the Lethal Weapon trailers is used in "Lethal Fuzz." This previously rare music is unfortunately overshadowed by audio pulls from the movie, which mkes me very... (see first paragraph).
There's a small bit of stuff missing from foreign releases, like Robert Rodriguez's own satirical "Avenging Angel." The music is strong enough to hold its own without it, but I recommend the album with strong technical reservations.
HOT FUZZ – David Arnold
David Arnold news release
David Arnold imdb.com
from Celluloid Symphonies by Julie Hubbert, publisher University of California press, date March 2011
film composers in the 1980s also experimented with synthesizer sounds in the underscores of sci-fi, horror films and thrillers. (388) It allowed composers to work directly to tape and changed where they worked. The rise of music videos to promote the film had film imagery set to a driving beat, the tempo being dictated by the rhythm and structure of a popular song instead of by conventional cinematic tempos. (389) Scores combining orchestras and pop/rock music started to become the norm in the 1980s to maximize studio profit. the pop compilation soundtrack of the 90s was not motivated entirely by economic concerns, though, as directors were either unable to communicate with orchestral composers or preferred to retain directorial control by selecting their own music. "popular music is the only cultural reference we hold in common any more" ppop music is able to generate instant filmic meaning by providing a precise referential marker which gives directors a range of extra-filmic information that newly composed orchestral music cannot generate. (397)
David Arnold imdb.com
from Celluloid Symphonies by Julie Hubbert, publisher University of California press, date March 2011
film composers in the 1980s also experimented with synthesizer sounds in the underscores of sci-fi, horror films and thrillers. (388) It allowed composers to work directly to tape and changed where they worked. The rise of music videos to promote the film had film imagery set to a driving beat, the tempo being dictated by the rhythm and structure of a popular song instead of by conventional cinematic tempos. (389) Scores combining orchestras and pop/rock music started to become the norm in the 1980s to maximize studio profit. the pop compilation soundtrack of the 90s was not motivated entirely by economic concerns, though, as directors were either unable to communicate with orchestral composers or preferred to retain directorial control by selecting their own music. "popular music is the only cultural reference we hold in common any more" ppop music is able to generate instant filmic meaning by providing a precise referential marker which gives directors a range of extra-filmic information that newly composed orchestral music cannot generate. (397)
Hackenbeckers? who did the dubbing, their idea to do history of police sirens at the opening
S. I love this piece of music. its a bit of rarity
E. It's on that album Velvet Tin Rock a bit of glam rock from an album of no-hit wonders and when we were writing, a lot of the time the music that we were listening to we used in the film. this came up on my ipod. there's something about the glitter the glam rock thing that really goes with policemen plodding along.
s. do you think its the siren at the beginning of Blockbuster?
E. that kind of pace just seems intrinsically British, of lolloping along.
E. Batman Begins sound effect when Angel catches up to shoplifter in alley chase, just prior to seeing goose
E. John Spencer riffs over booking scene of shoplifter
E. first tried to get Guys 'n' Dolls for the Am Drams, but couldn't clear the rights, so chose Baz Luhrman Romeo and Juliet. Johnathon whitehead who does music for chris Morris did cockney piano "di di di di di!" notes.
E. Romeo and Juliet song and Fire came up during editing. no other song fit the bill than Mark Knopfler.. Good karma to pay for their tracks after slating them in Shaun of the Dead.
E. always one phone ringing in Sandford's police station with hundreds ringing in London's Metropolitan police station.
E. Lethal Weapon trailer music by John Alexander, not from film score, just the trailer, (used dring reveal of cache of weapons seized from hedge cutter). The same way we used Dawn of the Dead music in Shaun of the Dead, This percussive music makes me think of action films. I think of the Warner Bros. logo and start of Lethal Weapon, the trailer.
S. I think the trailer music was more memorable than the film.
E. Before I got fired from being a projectionist, I must have seen the Lethal Weapon 2 teaser trailer 400 times.
E. When Timothy Dalton raises his glass to the "memory" of Eve and Martin, Dalton very briefly looks into the camera. Director Edgar Wright liked it so much he synchronized the sound of a cash register "ching" at the same time.
E. David Arnold's score (in scene after pub before Danny and Angel watch DVDs) we basically had to- we couldn't afford a full orchestral expensive thing for the whole thing. David's plan was we do two days at the studio and builds it into these moments it'll really soar when it needs to. electronic for first half, then moments like this one, amazing watching him do this music.
E. (at village fete when Angel goes address crowd) feedback cliche sound effect.
S. tombola sound creates tension during the scene
E. the music that David did during this is brilliant.
S. that theramin noise there (just after newspaperman hit)
E the sound work by Hackenbecker's is incredible.
E. audio flashbacks are so cheesy (Angel remembers Andy telling him to read the articles himself if he wants to investigate so badly)
E. (Angel talking to Danny about monkey after their fight) the music in this is so sentimental. It makes me laugh. some people don't know how to take this scene because its so soppy. if you look at the most testosterone driven films, they get so kind of homoerotic, the score is so sweeping and sentimental. The score is just huge in all of those action films.
E. I love the music on this bit makes me laugh. again, the score is so swelling and... HUGE. (Skinner alibi on video at the supermarket)
E. I love the music in this bit: angel is a broken man at this point (Angel finds TWAT written in his hat band after Skinner defends his accusation)
E. the music in this is great.
s. i remember when you were putting the film together in editing, the temporary soundtrack was so good, that David would have to pull the boat out to match it.
E. Robert Rodriguez did the music for this bit, he did it as a favour and a laugh (Angel at gas station deciding to go back)
23. Robert Rodriguez did the music for two scenes without seeing any other part of the movie because he thought it would be fun. The scenes are when Nicholas visits the convenience store and sees the action movie DVD son the rack and when he suits up for the final shoot-out.
E. From this point on, simon did ADR and re-recorded his voice to make it sound more 80s action hero. even though we had good sound, I just liked the idea that (it sounded like that)
E. crash cym(bal)s and guns get me hard (Angel gearing up for final gun fight)
idea of footsteps really thumping. Robert Rodriguez had only seen these two scenes.
E.Listen to this music. we heard the orchestra filming this and it was such a rush. (Angel rides into square to confront NWA)
E. Stewart(the doctor) did his own slow motion sound (during the shoot out)
S. fruit machine sound effect used again in the pub
E. video game noise goes off to give Angel "another life"
E. Saxon stops barking to show he and Carl have changed their minds
E. pantomime roar by Jim Broadbent. we put on a lion roar sound effect
E. amped up John Spencer sting at Somerfield sign
E. cut out all the music before the hit and then amp up the clonk and squeaking noise (girl on girl fight in the supermarket)
E. (guns firing running after Skinner and Frank escaping) It's so loud! I love it.
E. (during Model Village fight) the punch noises are so loud. hand crunching. music swells, he says a cool line, fight is over.
E. CRUNCH! (Edgar points out sound effect as Skinner is impaled through moth by church roof)
E. John Spencer's track from the blues Explosion, when we got this track it was so amazing. he did lyrics to go with the scene "That's right! He's going to jail!"
S. (Edgar) loved that band and here he is having a personally scored moment to his film
S. you put the squeak on the hedgehog (so we'd notice it survived the explosion of the police station)
E. Ka-BAM! (emphasizing sound effect that goes into final credits)
E. here comes the Fratellis (song #1 of credits)
E. this is John Spencer's track "Here comes the Fuzz" especially for the film. I have a man crush on you, John Spencer. Look at these amazing songs on the soundtrack!
S. I must say you're a very adept music compiler . You do it with the relish of John Cusack's character in High Fidelity. "solid gold easy action" how great to get that into a soundtrack twice.
Research in books: action film sound tropes, music score cliches, musical terminology etc.
David Arnold also scored Casino Royale with Daniel Craig
Film music by Paul Tonks p. 73-74
Page 83 on details how a film score is made.
from imdb.com listen to dvd commentaries to confirm these stories
To indicate how behind the times Sandford police station is, the sound of a very old Apple Macintosh startup tone is heard in the background. This startup tone hasn't been played by any Mac for more than ten years.
Director as composer: Edgar Wright chose all the songs? What did Nick Angel do?
David Arnold has scored buddy action moments in Independence Day and the BBC Sherlock Holmes series. He scored 5 James Bond films including Daniel Craig's Casino Royale and Quantum of Solace
BBC interview
good luck nicholas clip
sea mine
Battle for Sandford begins
fence jumping
Angel fights Narp
Messenger gets murdered at the fete
fight at the Somerfields
fight at model village
shortest car chase ever
battle for Sandford 2
opening sequence with police whistles
video editor Chris Dickens
Paying Attention To Sound
I had a chance to watch the film in the theaters to prep for this story and was impressed by the degree of cutting and sound design. This seemed like a natural start to my conversation with Chris Dickens, the film’s editor. He explained, “Hot Fuzz used sound in a very stylized way, because it is a comedy. I initially did a lot of sound editing when I started in the business, so sound has been very important to me. Of course, it is fifty percent of any feature. In Hot Fuzz, we used a lot of whooshes and other elements to help pay off the jokes. This would certainly be over the top for a drama, but Edgar [Wright, the director] and I both saw this in the same way; so, I built up the soundtracks to create a sense of heightened realism – to be like a super-hero film. Then the sound editors took that to the next level. When you work with sound, you have to think about what works for the picture and how to manipulate the audience’s emotions. I love to intertwine music and sound effects to create a ‘soup’ that is very atmospheric – so you can’t tell the difference between the music and the effects.”
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