1:08:01
But the orchestra was playing
to drive the energy
1:08:04
to people to go to discover
where the criminal is.
1:08:07
Driving through the point where
the camera goes through the door.
1:08:10
And I continued the music
when the camera
1:08:12
panned to the window, playing it more.
1:08:15
He said, "If you stop the music
when the camera pans to the window
1:08:19
the silence will tell us
that it's empty - he's gone,
1:08:22
more emphatically, more powerfully
than any musical phrase."
1:08:27
And, of course, just the absence
of music at that point...
1:08:29
It was a wonderful lesson in where
to arrange the parts of the music
1:08:33
in any film, which we call
"spotting," incidentally.
1:08:35
That is to say,
the spots are where the music is.
1:08:37
So, he was a wily professional
who knew his business
1:08:41
and could be of great assistance
to a youngster
1:08:45
such as I was at that time.
1:08:58
I do think it's true that Hitchcock,
his own sensibility
1:09:01
and his own belief in music
and trust in it,
1:09:04
made a great impact on audiences.
1:09:07
Some of my earliest influences
and earliest strong impressions
1:09:11
were from the Hitchcock-Herrmann
collaboration.
1:09:13
Obviously, Bernard Herrmann's music
was very striking and very strong,
1:09:17
but Hitchcock was a director
who placed his faith in that.
1:09:21
Many directors would be afraid to have
that music that loud or that emphatic.
1:09:25
They might think it's too operatic.
1:09:27
Directors before Hitchcock
did wonderful things with music,
1:09:30
and he was not alone.
1:09:33
But there is something at the core
of his faith and trust and belief in music
1:09:37
as a character in the film metier
1:09:41
was uniquely strong and high.
1:09:45
And I think that every composer that
worked for him benefited from that.
1:09:49
I should say, in the contemporary scene,
Steven Spielberg is similar
1:09:54
in that his films need a lot of music.
1:09:56
And Mr Spielberg is very happy
about relying on music,