After rejecting Alex North’s original score for 2001, A Space Odyssey, Kubrick decided to use pre-existing music, and the way it worked was a game-changer. From 19th Century Viennese waltzes to up-to-date avant-garde approaches by Ligeti, soundtracks were never the same again.
Basically, this is about moving sound from the caboose of the train to the engine.
In ‘Soundtrack to a Coup d’Etat’, the music emerges as the lead character of the film, cast as an historical agent of change. The film's soundtrack and Grimonprez's earlier works will be discussed in this 2-lecture series.
Here we deconstruct the provocative use of music and sound of one of the world’s most influential filmmakers, exploring his work with sound designers such as Alan Splet, Randy Thom and even himself (assuming the role).
In ‘Soundtrack to a Coup d’Etat’, the music emerges as the lead character of the film, cast as an historical agent of change. The film's soundtrack and Grimonprez's earlier works will be discussed in this 2-lecture series.
