Films and music

20 September 2017

zbigniew_preisner

I found a note on film music in an old notebook on an interview with the Polish composer Zbigniew Preisner, perhaps still best known for his work with Krzystzof Kieslowski. Here are a couple of extracts.

The question is why should we use music at all. The connection between the film and the music is completely metaphysical because you never see the music; you only feel it, and in my opinion the best music for a film is total silence. Most American films use a composer like John Williams, when there is music all the time to tell you what to think and how to feel. A bit of danger: some scary horns. A love scene: romantic strings. But the French writer Baudelaire was right when he said that the matter for the artist is not to describe what he sees, but what he feels.

And this. It explains in part why, despite his reputation, he has only worked in European cinema. The other part of the explanation is about what Hollywood economics does to artistic endeavour.

When I see most American movies, I think they are providing instructions for terrorists. I was in Poland when I watched September 11 on television, and at first I thought it was a movie. Sure, Independence Day is fun, but films like this are wishing for something to happen, like a self-fulfilling prophecy.

And here, to troll the Brexiteers who are busy hating my recent Medium post on Brexit, is his ‘Song for the Unification of Europe’, from Kieslowski’s Three Colours: Blue.

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