![]() So much of our time was spent dialing in the tension and being very careful with how to support, but not overwhelm the scenes that were dialogue-heavy. NFS: Can you talk about working with director Steven Pierce? Did he have a very clear understanding of how he wanted the score to sound?Īrntzen: Steven was great to work with! He very much had a clear idea of what he wanted to accomplish with the score. It’s keeping and combining the visceral, raw horror elements, and marrying them with percussion instruments that are a little less clean around the edges to match the horror vibe.”Īlexander sat down with No Film School to go into more detail about scoring the soundtrack of the horror film, Herd. Musically, what happens when a film falls in both the action and horror genres? Composer Alexander Arntzen can speak on this topic, as his latest film, Herd, falls into this cross-genre category.Īlexander says, “The key is to dial in what kind of horror you are working with and then, what kind of action you are trying to bring to that so that it doesn’t just become an “action movie”. Each of these genres has unique sounding characteristics that are used to either create fear/uneasiness or to raise adrenaline levels. In the horror genre, Halloween, Psycho, and Jaws are also probably the most recognizable. When one thinks of action film scores, themes to Indian Jones, Mission: Impossible, and Batman probably come to mind. His work, along with the work of other Soviet montage theorists like Sergei Eisenstein, contributed to the development of film editing techniques that continue to be used in filmmaking today. Pudovkin's ideas on montage were influential in shaping the language of cinema and had a lasting impact on filmmakers worldwide. This can be used to convey a character's thoughts, emotions, or inner world. Associative Montage: Associative montage is based on the idea of linking shots together based on their thematic, visual, or emotional associations rather than their narrative continuity.This technique can be used to build tension and show the interconnectedness of different characters or plotlines. Parallel Montage: In parallel montage, shots from different storylines or locations are intercut to create a sense of simultaneous action or events.For example, cutting from a shot of a starving person to a shot of a delicious meal can emphasize the contrast between hunger and abundance. Contrast Montage: This involves placing two shots with contrasting content or meanings next to each other to create a stronger emotional or intellectual impact.Pudovkin identified several types of montage that he used in his films, including: ![]() He believed that the essence of cinema lay in the way shots were assembled, rather than in the shots themselves. Pudovkin's approach to montage focused on the idea that the juxtaposition of individual shots or images in a film sequence could create meaning and emotional impact beyond what could be achieved by each shot independently. It wouldn't be surprising to learn for sure that he was, since his theories on editing helped establish modern editing, as well as create a film language for editing that we still use to this day.Īt its core, the early Russian film theorists, like Pudovkin, believed that editing, the organization and placement of shots, was a means of expression that was unique to filmmaking - something that wasn't (and still isn't) done in literature, theater, paintings, or the plastic arts. It is argued that Pudovkin was the experiment's co-creator. This reaction to editing is called the Kuleshov Effect. Pudovkin was the student of Lev Kuleshov, who, for one, was arguably the very first film theorist ever, and two, was the one who demonstrated that editing meant more than splicing bits of film together to form a coherent story it was powerful and could evoke emotions based on their order and juxtaposition. Though Pudovkin's name may not ring a bell for some, his teacher's might.
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