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Scoring a Motion Picture — Wagner 41
tional suggestion may be obtained scene by scene, than is possible act by act. Thus it is that musical accord with the poetry of action and mood can be made scenically unified, and can really produce a more concise and closely correlated emotional suggestion than any other form of union of music and action . Now, I have said that it is one business of the adapter to make the musical accompaniment supply the motion picture with an important part of what the speaking stage gets from dialogue. I mean that while the picture vividly gives to the eye the story, the characterization can suggest constantly a mood to make the spectator . mentally sympathetic. It follows that one preparation which the musical director must make is careful study of the picture, sufficient to bring to him definite and vivid impressions and emotions derived from it ; he must himself feel the need of the music which he will later select and arrange.
The appropriateness of selection of motion picture accompaniment depends largely on this preparation. Scenically, the motion picture is a great inspiration; no speaking stage can in completeness, in gorgeous realities, and in generous detail approach the scenic richness of the motion picture. So, the musical director is always under the inspiration of an art kindred to his own. And so adept are good motion picture actors and actresses becoming, that careful observation of their pictured pantomime is all the inspiration needed for an impression that readily suggests music best suited to express it. It is therefore the study of the musical director of the picture with special regard to opportunity to make the music aid in its emotional suggestion of something truly felt and appreciated that counts most for the success of his work.
We speak of accompanying motion pictures with music. Now the accompaniment of song, the expression by means of music of a beautiful idea or of a dramatic idea is a province of art; if the song or the idea or scene or story has strong element of beauty, the art of accompaniment becomes really a king to the poetic art. The poet takes ideas and thoughts and gives them beautiful word forms; the accompanist, given this sort of material to inspire him, can add beauty to his work. Now, turning to motion pictures, the arrangement of a musical accompaniment for pictures in which there is definite mood, a central idea, a real emotional element that is consistent, makes a congenial task for a musician, and in the majority the arranger does find pictures inspirational; he does find opportunity for a musical accompaniment that is really expressive of the appeal which the picture makes.