Lawrence of Arabia

Soundtracks that Make Us…

As I continue to watch and listen to this film I am never dissatisfied with its composition. I am always eager from one scene to the next. The “el ‘awrence” imagery, score and sound are captivating, bringing the viewer deeper into the fold. When I watched the film recently I took special note that director David Lean intended to have the score played in theatres, without visuals, during the “Overture, Enter’acte and Exit Music” (Columbia Pictures DVD).

Sitting in my chair listening I begin to think about David Lean’s intentions for doing so. Indeed the score initiates a journey and creates wonder for the viewer. What are we going to see? Where is the film going to take us? There is so much to talk about with this film that I look forward to sitting down with our director, Casey Williams, and listening to his comments about the film. After all knowing that Casey is truly inspired, as am I, by David Lean is a gift, and one gift which I am grateful to have access to. As scene by scene passes Casey will impart his knowledge and I will heartily accept the commentary. There will be questions (of course) and together we will use this knowledge and come up with our own ideas for our own production. The imagination will flow…

Still it is the work of Maurice Jarre that I want to bring to our readers attention today. As a musician myself, I cannot help but wonder about the creativity required to pen the musical notation and understandings of such a magical and daunting soundtrack. Each note, each sound, each theme, each variation, one never grows tired of hearing the sequences and today as I sit in my chair I simply…listen and that is where the magic is…and I remind myself…it is about what you feel. That is the magic of Jarre’s score it makes us feel.

How I wish I could create similar sounds and yet being part of a production that will also include a soundtrack it will bring to my being, and for those others engaged in the spirit of our presentation, more magic, more experience, more to feel. I am eager! How will our soundtrack reflect the balance or discordance from scene to scene? When will certain notes reemerge to connect with our audience’s ear? What will it be like to watch, hear and feel this, our film, on the screen?

I suspect I know how I will feel – but will not come to terms with it all until the actual premiere when our team will sit somewhere quietly watching and waiting with all those in attendance. As the last scene passes from the audience’s view and the credits begin to roll there may be music to fill our hearts and we will know ourselves what we have created. Then – when the audience begins to react because of what they have felt, we will find our hearts on our sleeves as heart-felt congratulations are offered for a project well done. And all the while, after so much passion, so many hurdles, so much work, it will be, at long last, knowing that what connects us in this journey is feeling, heart-felt dedication worn on our sleeves for anyone to experience.


About The Author

pferguson
Paul has worked with the Paradigm Motion Picture Company since 2009 as producer, historian and research specialist. Paul first met Casey and Ian WIlliams of Paradigm in April 2007 at Ieper (Ypres), Belgium when ceremonies were being held for the re-dedication of the Vimy Memorial, France. Paul's sensitivity to film was developed at an early age seeing his first films at RCAF Zweibrucken, Germany and in Sardinia. Paul returned to Canada in 1967 and was further amazed by David Lean's "Lawrence of Arabia" and "Bridge on the River Kwai". Film captivated Paul and with time he became increasingly interested in storytelling, content development, character, direction, cinematography and soundtracks. At the University of Victoria, Paul studied and compared Japanese and Australian film and became interested in Australian film maker Peter Weir and his film "Gallipoli" (1981). Paul was entranced when he learned Weir had visited the beaches, ridges and ravines of the peninsula. The film "Gallipoli" alone led Paul on many journeys to sites of conflict in England, France, Belgium, Holland, Germany, Malta, Hawaii and Gallipoli. It was, however, when Paul watched documentary filmmaker Ken Burns, "The Civil War", that Paul understood how his own experience and insight could be effective and perhaps influential in film-making. Combining his knowledge of Museums and Archives, exhibitions and idea strategies with his film interests would be a natural progression. Paul thinks like a film-maker. His passion for history and storytelling brings to Paradigm an eye (and ear) to the keen and sensitive interests of; content development, the understanding of successful and relational use of collections, imagery and voice. Like Paul's favorite actor, Peter O'Toole, he believes in the adage “To deepen not broaden.” While on this path Paul always remembers his grandmother whose father did not return from the Great War and how his loss shaped her life and how her experience continues to guide him.

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