1. King Kong

2. Click Track

3. Mickey Mousing 

1. Bride of Frankenstein (Horror)

2. Leitmotif

3. Instruments that match the style of the scene. 

1. Last Horizon

2. Wordless choir for paradise-like theme (Last Horizon)

3. High Noon is a turning point for film music. 

1. 19th century Fox

2. "Fox String Sound" (Strings play in high registers)

3. Fast Vibratos. 

1. Spellbound (Theremin)

2. 4 period: Exotic, Psychological, Gangster, Epic

3. Dark Hungarian folk influence 

1. First composer with international reputation to accept Hollywood contract.

2. Signature theme: Brass fanfare followed by sweeping melodies in strings.

3. Mastered on Swashbuckling Adventure and Romantic Drama. 

1. Oscar for "Best Year of Our Lives"

2. Watched a film completely, determined the peak points and implemented his ideas for those.

3. Sees the film as an architectural whole. 

1. Academy Award for "All That Money Can Buy"

2. Just strings in "Psyco" to reflect the Black&White nature of the picture.

3. Cold dead sound without vibrato. 

1. Music only when necessary.

2. Influenced by Aaron Copland.

3. Chooses to stay away from 19th century European style. 

1. Ultimate "Americana" style.

2. Expansive vistas and grand scenery.

3. Academy Award for "The Heiress" 

1. Epic score in "Lawrence of Arabia"

2. Uses electronic and ethnic instruments.

3. "Witness" is a powerful example of an all electronic scoing. 

1. Started composing with Spaghetti Westerns.

2. Would choose to orchestrate his own works.

3. Experimental sounds (animal, whistling etc.) 

1. Music should enlarge the scope of the movie.

2. No Mickey Mousing.

3. Experiments and looks for new sounds. 

1. Created psycodramas with a psychiatrist.

2. "A Streetcar Named Desire" (Jazz integration)

3. Only composer to receive "Lifetime Achievement Oscar" 

1. Pioneer of jazz in film.

2. Big Band to classical to pop.

3. Orchestrat and ethnic style. 

1. Unofficial conducting debut for "The Birds"

2. West Side Story

1. Westerns

2. The Big Country (Opening)

3. Inspired by folk tunes and popular music of his time. 

1.                               Music can be used to intensify or relax the pace of the film. 1975 Jaws (John Williams). Two notes. Carrie (Pino Donnagio) End where a schoolgirl takes flowers to her graveyard. Solo flute. After comes a horrifying scene.

2.                               Reflect emotion. Somewhere in Time (John Barry). The actress from the past first they fall in love and then she leaves and comes back at him running. Grande music.

3.                               Create unspoken thoughts of a character or unseen implications of a situation. The song of Bernadette (Alfred Newman). When the Virgin Mary visits Bernadette, there is no dialogue so everything is left to the scoring.

4.                               Parallel or underscore the action. Mickey Mousing. Ben-Hur (Miklos Rozsa). As the commander orders the slaves to increase their row speed, music also increases in speed. When they are ordered to stop, the music stops.

5.                               Create atmosphere of time and place. Ben-Hur (Miklos Rozsa). Before the chariot race, we hear brass and roman percussion.

6.                               Provide unity or coherence to story. Series. Star Wars. Same opening theme. James Bond theme. Leitmotif.

7.                               Play against the action. Face Off (John Powel). Fight scene with a kid. After a while they put on a headphones and he starts listening to the music. We listen to the same music. The action goes on.