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the music. But in this case the music had to inspire the action. All the camera has to work with is the orchestra, the conductor, and the audience. The human angle is the conductor — the younger Strauss — and the people of the story who are listening. So I arranged the cutting to match the rhythm of the music. It is difficult to describe in words. You must visualize the film moving in time with the music. In the slowr passages the cutting is slow, when the music quickens the mood of the melody is followed by the quick cutting.
"Then, again, there is a good instance of the sort of thing I have aimed at in the scene when Strauss, a young baker, conceives the tune while at work. There the action — composed of simple things like bakers kneading dough and rolls falling into baskets — moves in time with the music which is forming in the young man's brain.
"Film music and cutting have a great deal in common. The purpose of both is to create the tempo and mood of the scene. And, just as the ideal cutting is the kind you don't notice as cutting, so with music."
"You think then that cutting, montage, or whatever you like to call it, cannot do all that is required to establish the mood of a film, Mr. Hitchcock?"
"Exactly. I think cutting has definite limitations. Its best l is in violent subjects. That is why the Russians made such effect r use of it, because they wrere dealing with violence, and they coula pile shock on shock by means of cutting. But have you noticed thai since they started to make quieter subjects, concerned with agriculture, etc., their montage has not been so noticeable or effective? If I am sitting here with you discussing the FiveYear-Plan, no amount of cutting can make a film of us dramatic because the scene is not dramatic. You cannot achieve quiet, restrained effects that way. But you might express the mood and tone of our conversation with music that would illuminate or even subtly comm< on it.
"Please make it clear that I am not laying down laws on this subject. I am simply experimenting in theory as I have done in practice in Waltzes from Vienna. There are lots of things I lid not made up my mind about. But I do think that any intelligent attempt to harness music to films is a step forward. Word and incidental noises and ' song numbers' are surely not all the sound track was invented for.
"The basis of the cinema's appeal is emotional. Music's appeal is to a great extent emotional, too. To neglect music. I think, is surrender, wilfully or not, a chance of progress in film-making.''
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