Composer
 as
 a
 storyteller,
 
Music
 as
 the
 spoiler.
 

 

 

 

 

 

 

 
Zeev
 Perry
 

 
Master
 in
 Scoring
 for
 Film,
 TV
 and
 Video
 Games
 
Berklee
 Valencia
 
 
July
 2014
 

 

 

 

 


 

INDEX
 

 
1.1
 
 
 
 
 
 
 
 Abstract
 
 
 …………………………………………………………………………………
 
 
 3
 
1.2
 
 
 
 
 
 
 
 Synopsis
 
 
 ………………………………………………………………………………...
 
 
 3
 
1.3
 
 
 
 
 
 
 
 Composer,
 Director
 and
 general
 background
 of
 making
 the
 film
 
 ...
 
 6
 
Music
 score:
 
2.1
 
 
 
 
 
 
 
 The
 sound:
 landscape/
 atmosphere
 created,
 harmonic
 language,
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 Instrumentation………………………………………………………………………..
 
 
 9
 
 
 
 
 
 
 
 
 
 
 
 
2.2
 
 
 
 
 
 
 Score
 Narrative
 analysis:
 themes,
 motives
 and
 significant
 cues
 ….
 
 
 11
 
2.3
 
 
 
 
 
 
 
 Cue
 List
 
 
 
 ………………………………………………………………………………
 
 
 
 
 15
 
3.1
 
 
 
 
 
 
 Conclusions
 
 
 …………………………………………………………………………..
 
 
 
 22
 

 

 

 

 

 

 

 

 

 

 

 

 


 

2
 


 
Abstract
 
In
 this
 paper
 I
 will
 try
 to
 examine
 though
 the
 Film
 “The
 Imaginarium
 of
 Doctor
 
Parnassus”,
 whether
 the
 fact
 in
 which
 the
 composer
 knows
 the
 ending
 of
 the
 
movie,
 reflects
 in
 the
 music
 from
 the
 very
 start.
 
In
 order
 to
 do
 that
 I
 will
 start
 with
 a
 short
 synopsis
 of
 the
 film,
 I
 will
 then
 get
 to
 
know
 the
 creative
 souls;
 the
 director
 and
 the
 two
 composers,
 a
 short
 background
 
of
 the
 movie
 will
 then
 take
 place
 for
 giving
 the
 prospective
 and
 a
 certain
 taste
 of
 
the
 film
 unusual
 circumstances.
 After
 do
 so,
 I
 will
 examine
 the
 music
 referring
 it
 
as
 
 “sound”,
 as
 whole
 auditory
 experience,
 though
 relations
 between
 narrative
 to
 
music,
 themes
 and
 variations
 and
 instrumentation.
 I
 hope
 that
 with
 the
 
knowledge
 and
 the
 information
 I’ll
 will
 gain
 about
 the
 film
 and
 it’s
 creators
 and
 
by
 going
 though
 the
 themes
 and
 the
 course
 they’re
 moving
 in
 the
 film,
 I
 will
 have
 
enough
 material
 to
 state
 whether
 the
 music
 was
 telling
 the
 end
 from
 the
 start
 or
 
not.
 

 

 
The
 Imaginarium
 of
 Doctor
 Parnassus
 
 
Synopsis
 
Our
 story
 begins
 just
 before
 Valentina
 turns
 sixteen,
 “the
 age
 of
 counsel”
 in
 her
 
words.
 It’s
 London
 and
 the
 picture
 is
 dark,
 the
 weather
 is
 awful,
 the
 characters
 
seem
 as
 if
 they
 just
 came
 out
 of
 a
 nice
 dirty
 deep
 in
 a
 big
 pile
 of
 waste.
 
 Alcohol,
 
filth
 and
 torn
 rags
 as
 if
 cloths
 to
 wear.
 Smoke,
 fog
 and
 a
 big
 monstrous
 carriage-­‐
 
caravan-­‐
 rolling
 theatre
 all
 in
 which
 follow
 the
 story
 from
 the
 start
 gives
 us
 the
 
viewers
 a
 sense
 uneasiness,
 uncertainty,
 mystery
 and
 magic.
 


 

3
 

Doctor
  Parnassus,
  Valentina’s
  father,
  is
  immortal
  and
  a
  bating
  kind
  of
 
man.
  He
  is
  immortal
  because
  he
  likes
  to
  bet
  and
  he
  likes
  to
  bet
  because
  he’s
 
immortality.
 One
 night
 in
 his
 old
 carriage,
 Doctor
 Parnassus
 takes
 Valentina
 for
 a
 
talk.
  He
  wants
  to
  tell
  her
  the
  truth,
  a
  tale
  that
  will
  reveal
  how
  he
  became
 
immortal.
 
A
  few
  decades
  ago
  Parnassus
  was
  a
  young
  monk
  who
  lived
  on
  top
  of
  a
  big
 
abandoned
  mountain,
  his
  believe
  and
  his
  routine
  was
  very
  simple
  and
  like
  the
 
rest
  of
  the
  monks
  there
  all
  he
  did
  was
  telling
  the
  eternal
  story,
  the
  story
  that
 
sustains
 the
 universe.
 One
 day,
 a
 strange
 looking
 man
 who’s
 called
 Mr.
 Nick
 came
 
to
  the
  monastery;
  he
  wore
  a
  suit
  and
  a
  top
  hat,
  he
  smoked
  a
  cigar
  and
  used
  what
 
seemed
 to
 be
 an
 old
 recorder.
 
 After
 hearing
 from
 Parnassus
 his
 believe
 and
 the
 
reason
 he
 and
 the
 monks
 are
 staying
 there,
 he
 proved
 him
 wrong,
 in
 a
 way.
 Or
 at
 
least
  gave
  him
  some
  food
  for
  thought
  by
  silencing
  the
  monastery
  and
  stopping
 
the
 eternal
 story
 from
 being
 told.
 This
 action
 shook
 Parnassus
 world
 and
 that’s
 
when
 he
 made
 his
 first
 bet
 with
 the
 strange
 looking
 man,
 who
 turned
 out
 to
 be
 
the
 devil
 itself.
 This
 bet
 led
 him
 to
 a
 series
 of
 other
 bets,
 which
 caused
 him
 to
 win
 
his
 immortality,
 his
 slavery
 and
 later
 to
 loosing
 his
 daughter
 at
 the
 age
 of
 sixteen.
 
Doctor
 Parnassus
 doesn’t
 get
 to
 the
 part
 in
 the
 story
 about
 betting
 on
 his
 
daughter
  because
  the
  carriage
  stops
  and
  Valentina
  runs
  out
  to
  find
  a
  man
 
hanging
 by
 his
 throat
 from
 a
 bridge.
 With
 the
 help
 of
 Percy,
 the
 Doctor’s
 assistant
 
and
 Anton,
 who’s
 another
 actor
 in
 the
 Doctor’s
 show,
 they
 save
 Tony
 who’s
 about
 
to
 take
 a
 lead
 role
 in
 the
 bet
 between
 Mr.
 Nick
 to
 the
 Doctor.
 
Tony,
  a
  charismatic
  crook
  who
  stole
  money
  from
  a
  charity
  organization
 
and
 got
 involved
 with
 the
 local
 mafia,
 lies
 about
 his
 true
 identity
 to
 the
 carriage
 
personal
  and
  starts
  to
  take
  part
  as
  an
  actor
  in
  their
  daily
  routine.
 
  The
  daily
 


 

4
 

routine
  of
  Doctor
  Parnassus
  and
  the
  others
  is
  having
  a
  street
  show
  by
  opening
 
the
  caravan
  to
  a
  small
  theatre
  and
  offering
  the
  spectators
  to
  go
  inside
  Doctor
 
Parnassus’s
  Imaginarium.
  Which
  means,
  walking
  though
  a
  magical
  door
  that
 
leads
  to
  the
  Doctor’s
  mind
  and
  by
  that
  exploring
  your
  imagination,
  getting
  to
 
know
 it
 and
 experiencing
 it
 in
 an
 exciting
 yet
 dangerous
 way.
 
Charismatic
 Tony
 brings
 a
 new
 and
 fresh
 vibe
 to
 the
 unsuccessful
 show
 of
 
the
  Doctor
  and
  the
  others.
  With
  his
  sharp
  tough
  and
  his
  unique
  charm
  he
 
manages
 to
 make
 the
 imaginarium
 show
 just
 a
 tad
 more
 appealing
 to
 the
 public.
 
Doctor
  Parnasus
  and
  Valentina
  are
  swept
  away
  by
  Tony,
  they
  have
  complete
 
confident
 that
 he
 will
 give
 them
 the
 chance
 they
 need
 in
 life
 right
 now;
 Valentina
 
falls
 for
 him
 and
 wants
 to
 believe
 he’ll
 take
 her
 away
 from
 her
 twisted
 reality
 of
 
living
  with
  her
  father
  and
  his
  midget
  in
  a
  crazy
  moving
  theatre
  to
  a
  sane,
  normal
 
and
 stable
 life.
 The
 Doctor
 believes
 that
 Mr.
 Nick
 send
 Tony
 as
 a
 part
 of
 another
 
bet
 that
 might
 give
 him
 a
 chance
 of
 saving
 his
 daughter.
 
Mr.
  Nick
  does
  notice
  the
  new
  presents
  of
  Tony
  and
  offers
  Parnassus
 
another
  bet
  with
  a
  chance;
  the
  first
  one
  who
  will
  win
  five
  souls
  will
  take
 
Valentina.
  Every
  person
  that
  decides
  to
  participate
  the
  show
  of
  the
  Doctor
  and
 
goes
 inside
 the
 imaginarium
 will
 enter
 his
 own
 imagination;
 experience
 a
 world
 
of
 magic
 that
 comes
 into
 real
 life.
 In
 this
 experience,
 walking
 in
 the
 imagination,
 
among
  many
  fantastic
  and
  beautiful
  things
  the
  participant
  will
  come
  across;
 
there
  will
  be
  a
  decision
  to
  make,
  a
  choice
  between
  right
  and
  wrong,
  good
  or
  bad.
 
That
 decision
 will
 define
 if
 the
 soul
 goes
 to
 the
 Doctor
 or
 Mr.
 Nick
 and
 will
 later
 
affect
 Valentina’s
 fortune.
 

 

 


 

5
 

The
 Composers,
 Director
 and
 general
 background
 of
 making
 the
 film
 

 

Jeffrey
 W.
 “Jeff”
 Danna
 
Born
 1964,
 Jeff
 is
 a
 Canadian
 composer.
 Although
 primarily
 noted
 for
 his
 
film
  music,
  Jeff
  is
  an
  active
  TV
  composer
  and
  in
  addition
  wrote
  two
  albums
  of
 
Celtic
  music,
  influenced
  by
  the
  Celtic
  folk
  tales
  of
  “Deirdre”
  and
  “Liadain
  and
 
Curithir”.
  Both
  of
  these
  two
  Albums
  were
  written
  by
  Jeff
  and
  his
  older
  brother
 
Mychael
  Danna,
  a
  collaboration
  which
  went
  on,
  in
  different
  formats,
  on
  few
 
projects
 such
 as:
 “Tideland”,
 “Life
 of
 Pie”,
 “Antwone
 Fisher”
 and
 “Green
 Dragon”.
 
Jeff,
 who
 began
 his
 musical
 journey
 on
 the
 age
 of
 eight
 as
 a
 piano
 student,
 later
 to
 
become
  a
  guitarist
  as
  well,
  was
  making
  his
  way
  as
  a
  music
  performer.
  An
 
unfortunate
 hand
 injury
 at
 the
 age
 of
 twenty-­‐three
 opened
 him
 a
 path
 to
 become
 
the
 composer
 that
 he
 is
 now-­‐
 days.
 
 
Other
  Film
  and
  TV
  series
  scores
  include
  a
  long
  list
  of
  divergent
  projects
 
such
  as:
  “All
  Saints
  Day”,
  “Fracture”,
  “Resident
  Evil:
  Apocoypse”,
  “Miss
  Spider”,
 
“Silent
 Hill”,
 “Closing
 the
 Ring”
 and
 “Lakeview
 Terrace”.
 

 

Mychael
 Danna
 
Born
 1958,
 an
 academy
 Award-­‐
 winning
 composer,
 mostly
 known
 for
 his
 
score
 for
 the
 film
 “Life
 of
 Pi”,
 Mychael
 Danna’s
 music
 language
 is
 mostly
 unique
 
for
 it’s
 interesting,
 evocative
 and
 rich
 textures
 of
 blending
 eastern
 and
 western
 
musical
  worlds.
  Mychael
  studied
  at
  the
  University
  of
  Toronto;
  there
  he
  earned
 
the
 school’s
 inaugural
 Glenn
 Gould
 Composition
 award.
 During
 that
 time
 he
 also
 
began
  scoring
  for
  student
  theatre
  groups
  as
  well
  as
  starting
  his
  artistic
 


 

6
 

partnership
 with
 Egoyan.
 Mychael
 has
 scored
 all
 of
 Egoyan’s
 films
 since
 1987’s
 
“Family
 Viewing”.
 
Mychael
  earned
  the
  2013
  Golden
  Globe
  and
  the
  2013
  Oscar
  for
  scoring
 
Ang
  Lee’s
  “Life
  of
  Pi”
  and
  his
  credits
  include
  a
  long
  list
  of
  other
  films
  such
  as:
 
“Moneyball”,
 “Capote”,
 “Mira
 Nair
 on
 Vanity
 Fair”,
 “Monsoon
 Wedding”,
 “Shattered
 
Glass”
  and
  “Little
  Miss
  Sunshine”,
  for
  which
  he
  shared
  a
  Grammy
  Award
 
nomination
 for
 Best
 Compilation
 Soundtrack
 Album.
 
Danna
 says
 his
 approach
 is
 to
 “making
 music
 an
 integral
 part
 of
 the
 storytelling,
 
not
  simply
  repeating
  what
  is
  happening
  onscreen,
  but
  adding
  unexpected
 
dimension
 and
 insight
 that
 enrich
 the
 experience
 of
 the
 director’s
 vision”.
 

 

 
Director
 and
 general
 background
 of
 making
 the
 film
 
Terence
 Vance
 “Terry”
 Gilliam
 
Film
  director,
  screenwriter,
  animator
  and
  actor;
  Gilliam
  is
  a
  unique
  figure
 
in
  the
  world
  of
  visual
  art.
  Born
  (1940)
  and
  raised
  in
  Minnesota
  in
  what
  he
 
describes
  as
  a
  Huckleberry
  Finn/
  Tom
  Sawyer
  type
  of
  childhood,
  later
  his
  family
 
and
 him
 moved
 to
 LA
 when
 he
 was
 eleven
 years
 old,
 Terry
 started
 too
 draw
 his
 
first
  cartoons
  as
  a
  kid
  at
  that
  time.
  He
  went
  to
  Occidental
  College,
  studying
 

Physics
  and
  afterwards
  changing
  to
  Politics.
  At
  the
  last
  year
  of
  college
 
Terry
  send
  a
  share
  of
  his
  college
  magazine
  work
  to
  the
  Magazine
  “help!”
  in
 
New
 York,
 they
 liked
 what
 he
 sent
 and
 that
 was
 the
 first
 step
 in
 the
 world
 
of
 visual
 arts.
 


 

7
 

Gilliam
 was
 part
 of
 the
 Monty
 Python
 troupe
 as
 an
 actor
 and
 as
 an
 
animator;
 his
 animations
 had
 a
 special
 role
 creating
 the
 visual
 concept
 and
 
language
  of
  the
  successful
  group.
  By
  the
  time
  the
  group
  broke
  up,
  each
 
going
  each
  own
  direction,
  Gilliam
  gained
  enough
  experience
  and
 
knowledge
  to
  direct
  and
  screen
  write
  his
  trilogy
  about
  “the
  age
  of
  man”,
 
featuring
  “Time
  Bandits”
  (1981),
  “Brazil”
  (1985)
  and
  the
  “Adventures
  of
 
Baron
 Munchausen”
 (1988).
 Additional
 credits
 include:
 “Tideland”
 (2005),
 
“The
  Meaning
  of
  Life”
  (1983),
  “Life
  of
  Brian”
  (1979),
  “Twelve
  Monkeys”
 
(1995).
 
Gilliam’s
 theme
 in
 his
 work
 throughout
 the
 years
 is
 discussing
 or
 putting
 
to
 awareness
 the
 question
 of
 reality
 and
 imagination.
 
 
“Well
 I
 really
 want
 to
 encourage
 a
 kind
 of
 fantasy,
 a
 kind
 of
 magic.
 I
 
love
  the
  term
  magic
  realism,
  whoever
  invented
  it
  –
  I
  do
  actually
  like
  it
 
because
 it
 saiys
 certain
 things.
 It’s
 about
 expanding
 how
 you
 see
 the
 world.
 
I
 think
 we
 live
 in
 an
 age
 where
 we’re
 just
 hammered
 to
 think
 this
 is
 what
 
the
 world
 is.
 Television’s
 saying,
 everybody
 saying
 ‘That’s
 the
 world’.
 And
 
it’s
  not
  the
  world.
  The
  world
  is
  a
  million
  possible
  things.”
 
  Terry
  Gilliam,
 
Salman
 Rushdie
 talks
 with
 Terry
 Gilliam.
 
 
 
When
  Gilliam
  describes
  the
  process
  of
  creating
  the
  film
  “The
 
Imaginarium
 of
 Doctor
 Parnassus”,
 he
 explains
 that
 conceiving
 the
 idea
 or
 
theme
  of
  the
  movie
  came
  from
  the
  vision
  of
  the
  Caravan
  of
  Doctor
 
Parnassus.
 “A
 strange
 oversize
 wagon
 comes
 in
 and
 opens
 up,
 kind
 of
 like
 a
 
fold-­‐
 out
 dolls
 house
 or
 a
 theatre…
 and
 I
 thought
 it’s
 just
 magic.
 Pulled
 by
 


 

8
 

horses,
  it
  doesn’t
  belong
  in
  our
  world.
  If
  you
  go
  to
  it,
  you
  might
  discover
 
things
 about
 yourself”.
 In
 that
 wagon
 there’s
 the
 Imaginarium,
 “a
 place
 you
 
go
  though
  that
  mirror
  to
  discover
  whether
  you
  have
  an
  imagination
  to
 
begin
 with,
 and
 then
 let
 it
 flower,
 let
 it
 grow,
 let
 it
 take
 you
 places…”
 
During
 the
 filming
 of
 the
 movie,
 star
 actor
 Heath
 Ledger
 (Tony)
 died
 
of
  accidental
  intoxication
  from
  prescription
  drugs.
  When
  Gilliam
  was
 
informed
 by
 a
 phone
 call
 that
 Ledger
 had
 died
 he
 is
 initial
 thought
 was
 to
 
cancel
 all
 the
 shooting.
 After
 giving
 it
 some
 time
 and
 thought
 he
 decided
 to
 
keep
  on
  shooting
  the
  movie
  and
  dedicate
  it
  to
  Ledger,
  it
  was
  then
  when
  he
 
recruited
  Johnny
  Depp,
  Collin
  Farrell
  and
  Jude
  Law
  to
  replace
  Ledger
  by
 
using
  the
  concept
  of
  giving
  Tony
  (Ledger’s
  character)
  different
  and
 
transferred
 versions
 in
 different
 magical
 world
 while
 keeping
 the
 footage
 
of
 Ledger
 to
 represent
 Tony
 in
 the
 real
 world.
 
 
“So
  we
  create
  a
  world
  that
  isn’t
  true
  to
  a
  realistic
  naturalistic
  world,
  but
  is
 
truthful”
 Terry
 Gilliam.
 

 

2.1
 The
 sound:
 

 
 
 
 
 
 
 
 Landscape
 created,
 harmonic
 language,
 Instrumentation.
 
As
 there
 is
 a
 certain
 trademark
 to
 certain
 directors,
 as
 for
 composers
 or
 
any
 artist
 in
 general.
 I
 believe
 there
 is
 a
 certain
 sound,
 a
 unique
 and
 complete
 
auditory
 experience,
 which
 represent
 certain
 movies.
 The
 sound
 of
 a
 movie
 is
 all
 
the
 elements
 that
 complete
 the
 spectators’
 auditory
 experience;
 the
 harmonic
 
language,
 instrumentation,
 sound
 effects
 and
 sound
 design,
 texture
 and
 relation
 


 

9
 

between
 dialogue
 to
 other
 audio
 elements,
 spotting
 and
 usage
 of
 music
 during
 
the
 film.
 
“The
 Imaginarium
 of
 Doctor
 Parnassus”
 is
 a
 movie
 that
 brings
 a
 sound
 
that
 works
 very
 well
 with
 the
 image.
 The
 movie
 as
 only
 a
 visual
 is
 very
 complex
 
and
 even
 Samuel
 Hadida,
 the
 producer
 mentioned
 that
 it
 was
 an
 big
 challenge
 to
 
try
 a
 visualized
 the
 movie
 when
 it
 was
 presented
 by
 Gilliam
 to
 him.
 Costumes,
 
makeup,
 setting
 and
 of
 course
 the
 animation
 are
 making
 the
 movie
 what
 it
 is.
 
In
 order
 to
 accompany
 these
 great
 colours
 and
 visuals
 on
 the
 screen,
 the
 sound
 
accordingly
 is
 varied
 and
 dynamic.
 
Though
 the
 entire
 sound
 track
 of
 the
 film
 we
 hear
 mainly
 an
 orchestra
 
and
 orchestral
 scores
 fro
 the
 scenes.
 The
 ensembles
 are
 changing
 from
 cue
 to
 
cue,
 but
 there’s
 a
 certain
 balance
 in
 between
 three
 instrument
 sections:
 
woodwinds,
 brass
 and
 strings.
 All
 three
 mentioned
 are
 very
 dominant,
 each
 one
 
of
 the
 section
 gets
 leading
 and
 accompanying
 parts
 during
 the
 score,
 in
 addition
 
an
 occasional
 use
 of
 percussion
 and
 Celtic
 folk
 instruments
 adds
 more
 variation.
 
Although
 the
 picture
 and
 plot
 keep
 on
 changing
 to
 either
 the
 reality
 world
 or
 the
 
Imaginarium
 and
 the
 visuals
 changes
 from
 to
 animation
 and
 back
 in
 a
 very
 
sudden
 way,
 the
 music
 stays
 very
 coherent
 and
 adjust
 to
 the
 picture,
 using
 the
 
same
 instrumentation
 in
 both
 worlds.
 
The
 harmony
 stays
 tonal
 throughout
 the
 film,
 melodies
 and
 themes
 are
 
generated,
 phrases
 and
 harmonic
 progressions,
 most
 of
 themes
 of
 the
 score
 are
 
written
 in
 a
 minor
 scale
 but
 still
 there’s
 a
 certain
 flavor
 that
 comes
 from
 the
 
melodies,
 the
 orchestration
 and
 the
 contemporary
 use
 tension
 which
 gives
 the
 
movie
 its
 unique
 sound.
 

 


 

10
 

2.2
 Score
 Narrative
 analysis:
 
 

 
 
 
 
 
 
 Themes,
 motives
 and
 significant
 cues.
 
Main
 Theme
 
The
 first
 time
 the
 main
 theme
 is
 mentioned
 is
 at
 the
 first
 time
 we
 come
 across
 
the
 Imaginarium
 and
 its
 powers,
 the
 brass
 play
 just
 the
 first
 three
 notes
 of
 the
 
theme
 as
 dissonant
 clusters.
 When
 we
 leave
 the
 Imaginarium
 the
 melody
 plays
 a
 
bit
 longer
 and
 in
 a
 more
 tragic
 and
 expressive
 way
 by
 the
 celli.
 
The
 first
 time
 the
 main
 theme
 presented
 is
 just
 a
 fragment
 of
 it.
 Just
 a
 motive,
 the
 
brass
 playing
 the
 first
 three
 notes
 accompanying
 by
 strings
 as
 we
 first
 enter
 the
 
imagenarium
 and
 it’s
 not
 the
 only
 time
 this
 theme
 appear
 in
 that
 way.
 The
 main
 
theme
 walks
 us
 throughout
 the
 entire
 film
 and
 apart
 from
 changing
 key,
 tempo,
 
instrumentation
 and
 harmony
 it’s
 a
 very
 common
 way
 of
 using
 the
 theme
 to
 
generate
 the
 plot
 in
 different
 variations,
 just
 by
 using
 a
 fragment
 of
 it
 to
 remind
 
us
 the
 viewers
 the
 context
 of
 the
 scene.
 
 

 
Opening
 Theme
 
Starts
 as
 celli
 duet,
 this
 theme
 open
 the
 film
 and
 gives
 it
 a
 heavy
 and
 dark
 flavor.
 


 


 


 

11
 

The
 use
 of
 the
 close
 microphone
 to
 record
 the
 celli
 and
 the
 fact
 in
 which
 it’s
 
synced
 in
 the
 first
 scene
 to
 the
 clock
 tower
 sound
 and
 the
 wheels
 of
 the
 caravan
 
keeps
 a
 nice
 tension
 between
 the
 fact
 that
 it
 is
 right
 in
 our
 faces
 and
 on
 the
 other
 
hand
 at
 the
 background
 accompanying
 the
 motion
 of
 the
 Caravan.
 In
 this
 scene,
 
when
 the
 picture
 opens
 up
 and
 the
 movie
 starts
 the
 harp,
 strings
 and
 bassoon
 
are
 joining.
 A
 violin
 plays
 this
 melody:


 

 Next
 time
 the
 opening
 theme
 will
 play
 again
 will
 be
 at
 the
 very
 end
 when
 Doctor
 
Parnassus
 will
 start
 over
 his
 life,
 from
 the
 lowest
 spot-­‐
 as
 a
 dirty
 beggar
 on
 the
 
street.
 
The
 sixteen
 notes
 accidentals
 that
 open
 the
 theme
 on
 the
 cello
 and
 the
 close
 
microphones
 that
 catch
 fingers
 and
 wood
 noises,
 both
 gives
 this
 tune
 a
 very
 dirty
 
character.
 The
 slow
 rhythmic
 movement
 of
 each
 of
 the
 instruments
 participating
 
as
 well
 as
 the
 warm
 timbre
 of
 the
 celli
 creates
 a
 heavy
 feeling,
 like
 something
 old
 
and
 tried.
 In
 a
 way
 it
 reminds
 of
 the
 caravan
 or
 Doctor
 Parnassus
 are
 being
 
presented
 visually
 in
 the
 film.
 

 
Imaginarium
 Theme
 
The
 Imaginarium
 theme
 is
 played
 only
 twice
 in
 the
 film
 from
 beginning
 to
 the
 
end
 but
 still
 is
 a
 very
 dominant
 theme
 in
 the
 film.
 Because
 the
 Imaginarium
 is
 a
 
place
 that’s
 build
 upon
 the
 imagination,
 it
 is
 a
 colorful
 experience
 in
 the
 movie
 in
 
the
 visual
 and
 the
 auditory
 way.
 The
 music
 supports
 in
 that
 way,
 blends
 with
 the
 


 

12
 

sound
 effects
 and
 stands
 as
 a
 contrast
 to
 the
 real
 world.
 
 The
 melody
 is
 played
 by
 
the
 trumpet,
 doubled
 by
 the
 violins
 and
 accompanied
 with
 Celesta,
 timpani,
 celli,
 
choir,
 chimes,
 woodwinds
 and
 brass.
 
 The
 trumpet
 that
 reaches
 its
 high
 register,
 
the
 triadic
 harmony
 that
 offers
 tension
 and
 release
 and
 the
 major
 scale
 it’s
 
playing
 at.
 This
 theme
 is
 stating
 the
 obvious-­‐
 the
 Imaginarium
 is
 a
 good
 place
 to
 
be,
 it’s
 welcoming
 and
 the
 music
 is
 very
 bright
 and
 smooth.


 


 

 
Mr.
 Nick’s
 Theme
 

 
Mr.
 Nick’s
 Theme
 is
 a
 theme
 that
 correspond
 Mr.
 Nick’s
 appearance,
 it’s
 
instrumentation
 and
 it’s
 narrative
 approach
 to
 the
 visual
 are
 solid
 and
 don’t
 
varies
 as
 much
 as
 the
 other
 themes
 in
 the
 picture.
 Danna’s
 (both
 composers)
 
approach
 to
 Mr.
 Nick
 (the
 devil)
 fallows
 the
 subtext
 that
 Gilliam
 is
 transmitting
 
during
 the
 movie.
 The
 devil
 isn’t
 that
 bad,
 it’s
 just
 cool.
 Like
 Tom
 Waits
 who
 
plays
 it.
 When
 Mr.
 Nick
 is
 there
 the
 theme
 is
 played,
 a
 slow
 and
 sensual
 jazz-­‐
 
waltz,
 the
 melody
 is
 played
 by
 the
 tenor
 saxophone
 in
 a
 very
 expressive
 way
 in
 
it’s
 higher
 register,
 a
 accompanied
 by
 a
 drum-­‐
 set
 (brushes)
 and
 a
 walking
 bass
 
(double-­‐bass)
 which
 add
 to
 it’s
 jazzy,
 rugged,
 dark-­‐smokey
 jazz
 club
 in
 New
 York
 
sort
 of
 feeling.
 
 


 

13
 


 
When
 Parnassus
 tells
 Valentina
 about
 his
 first
 encounter
 with
 the
 devil,
 we
 see
 a
 
black-­‐coated
 rider,
 covered
 to
 protect
 himself
 from
 an
 awful
 snow-­‐
 storm,
 riding
 
a
 black
 horse
 on
 a
 very
 high
 an
 abandoned
 mountain;
 a
 very
 powerful
 image.
 
This
 image
 is
 being
 contrasted
 by
 a
 dark
 jazz
 waltz,
 Mr.
 Nick’s
 theme.
 This
 scene
 
setts
 up
 the
 mystery
 and
 the
 complexity
 of
 the
 devil
 in
 the
 plot.
 We
 hear
 the
 dark
 
shde
 of
 the
 music,
 we
 know
 its
 dark
 and
 Mr.
 Nick
 is
 not
 a
 saint
 but
 we
 still
 like
 
him
 for
 the
 tension,
 contrast
 and
 humor
 he’s
 bringing
 to
 the
 table.
 

 
Immortality
 Theme


 


 
This
 theme
 appears
 when
 there
 is
 a
 scene
 involving
 Mr.
 Nick,
 Parnassus
 and
 
Tony;
 characters
 that
 bring
 the
 death
 and
 life
 tension
 to
 the
 plot.
 Tony
 is
 playing
 
with
 death;
 his
 whistle
 gives
 him
 the
 possibility
 off
 living
 between
 these
 two
 
worlds.
 In
 the
 scene
 when
 Tony
 wakes
 up
 in
 the
 back
 of
 the
 caravan
 the
 
immortality
 theme
 is
 played
 in
 a
 humorous
 way
 by
 the
 strings
 (pizzicato),
 vibes
 
and
 accordion
 for
 example
 and
 when
 the
 theme
 is
 played
 in
 a
 dramatical
 more
 
orchestral
 way
 Mr.
 Nick
 and
 Parnassus
 are
 taken
 the
 lead
 role.
 The
 theme
 is
 
played
 in
 a
 minor
 key
 (the
 first
 time
 in
 F#
 minor)
 and
 most
 off
 the
 times
 it
 will
 be
 
played
 as
 a
 direct
 continuation
 to
 Mr.
 Nicks
 theme.
 
 


 

14
 

Valentina’s
 Theme
 and
 Anton’s
 Theme
 
Both
 of
 these
 themes
 appear
 only
 a
 couple
 of
 times
 and
 are
 presented
 in
 a
 very
 
straightforward
 way.
 Valentina’s
 theme
 is
 in
 a
 major
 key,
 very
 lyric
 and
 sweet,
 
where
 Anton’s
 theme
 has
 a
 melancholic
 character
 which
 works
 with
 Anton’s
 
image
 as
 the
 day-­‐
 dreamer
 and
 in
 love
 flavor
 he
 adds
 to
 the
 story.
 

 


 

 
Cue
 List
 

 
Cue
 name
 
1.
 Opening
 cue
 

Thematic
 

Instrumentation
 and
 

material
 
 

comments
 
 

Opening
 

Strings,
 Bassoon,
 

Theme
 

harpsichord,
 harp.
 

Cue
 Time
 
0:
 46-­‐
 1:42
 

2.
 Introduction
 to
  Caravan
 

Tuba,
 trombone,
 trumpet,
 

the
 show
 

tune
 

violin,
 piano.
 

3.
 1st
 time
 in
 the
 

Main
 Theme
  (A)
 Strings,
 celesta/music
 

(A)
 4:53-­‐
 5:50
 

Imaginarium
 

/
 
 

(B)
 6:04-­‐
 8:02
 

box,
 brass
 reminding
 a
 

Main
 Theme
  motive
 from
 theme.
 

2:17-­‐
 3:53
 

(C)
 8:20-­‐8:40
 

(B)
 Creepy
 pads,
 wood
 
sounds,
 choir,
 Mr.
 Nick’s-­‐
 
blues
 piano.
 
(C)
 Cello
 solo,
 strings,
 
bassoon
 
4.
 Kid
 in
 the
 

Imaginarium
  Celesta/music
 box,
 strings,
 

Imaginarium
 

Theme
 

choir,
 chimes,
 woodwinds,
 
brass.
 Imaginarium
 theme
 
played
 by
 the
 Trumpet.
 


 

15
 

10:30-­‐
 11:20
 

 

5.
 Mr.
 Nick’s
 first
 

Mr.
 Nick’s
 

Woodwinds,
 strings,
 Brass,
 

12:49-­‐
 14:14
 

appearance
 

Theme
 /
 

alto
 flute
 and
 flute
 playing
 a
 


 

Main
 theme
 

motive
 of
 the
 theme.
 Sax
 
plays
 Mr.
 Nick’s
 theme,
 
drum-­‐set
 with
 brushes,
 
double-­‐bass
 pizzicato.
 

6
 Anton
 and
 

Anton’s
 

Alto
 flute,
 bassoon,
 piano,
 

Valentina
 

theme
 

strings,
 harp,
 Anton’s
 theme
 

15:00-­‐
 16:30
 

played
 by
 the
 flute.
 

 
7
 Parnassus’s
 

Mr.
 Nick’s
 

Strings,
 drums
 with
 

Tale
 

theme
 /
 

brushes,
 sax,
 horns,
 bass
 

Immortality
 

drum,
 brass,
 synths,
 choir.
 

Theme
 

Sax
 plays
 both
 themes
 and
 

17:15-­‐
 18:10
 

horns
 doubles
 on
 the
 
Immortality
 Theme.
 

 
8
 Mr.
 Nick
 

Mr.
 Nick’s
 

WW,
 strings,
 Brass,
 Sax
 with
  18:30-­‐
 19:40
 

theme
 
 

Mr.
 Nick’s
 Theme,
 drums,
 
clarinet
 with
 Mr.
 Nick’s
 
theme
 pizz,
 doublebass.
 
 

 

9
 “My
 first
 bet
 

Main
 theme
 

with
 the
 Devil”
 

Appearance
 of
 motive-­‐
 harp
  21:52-­‐
 22:30
 
and
 after
 with
 piano,
 
strings,
 celesta,
 accordion
 
plays
 the
 theme.
 

 

10
 First
 

Mr.
 Nick
 

Bass
 drum,
 brass,
 strings,
 

(A)
 24:00-­‐
 

encounter
 with
 

theme
 

Woodwinds,
 Mr.
 nicks
 

25:22
 26:06-­‐
 

motive
 with
 sax
 and
 

27:20
 

Tony
 

ensemble.
 

 


 

16
 

11
 Tony
 meets
 

Immortality
 

Vibes,
 woodwinds,
 snare,
 

the
 gang
 

theme
 

accordion,
 Celesta,
 strings,
 

28:00-­‐
 29:00
 

piano,
 low
 strings
 pizzicato.
 
12
 Valentina
 

Valentina’s
 

Flute
 plays
 Valentina’s
 

appears
 

theme/
 

theme,
 harp,
 bassoon,
 

Opening
 

pizzicato
 celli,
 accordion,
 

theme
 

woodwinds,
 strings,
 

29:30-­‐
 31:35
 

plucked
 Celtic
 harp,
 
Opening
 theme
 played
 by
 
the
 violin
 and
 the
 bassoon.
 
13
 Parnassus
 is
 

Caravan
 

Drunk
 

Tune
 

14
 Half
 the
 price
 

Caravan
 

Guitar,
 piano,
 brass,
 strings.
  31:36-­‐32:37
 
Guitar,
 piano,
 brass,
 strings.
  34:00-­‐35:43
 

Tune
 
15
 Anton
 is
 hurt
 

Anton’s
 

Strings
 and
 WW
 

35:50-­‐
 36:20
 
36:25-­‐
 38:15
 

Theme
 
16
 Mr.
 Nick’s
 last
 

Mr.
 Nick’s
 

Strings,
 double
 bass
 pizz,
 

bet
 

theme/
 

Tenor
 Sax,
 brass,
 oboe,
 

Immortality
 

glock.
 

theme
 
17
 Tony’s
 

Main
 theme
 

Identity
 

Strings,
 mentioning
 the
 

39:
 49-­‐
 41:30
 

main
 theme
 with
 the
 flute,
 
counter
 melody
 with
 the
 
violin,
 celesta
 
accompanying,
 timpani
 

18
 Tony’s
 upset,
 

Main
 theme
 

Double
 bass,
 bassoon,
 

44:20-­‐
 46:05
 

Parnassus
 and
 

strings,
 Celtic
 harp,
 


 

Percy.
 

mentioning
 the
 main
 theme,
 
harp,
 strings
 pizz,
 Percy
 
theme,
 main
 theme
 with
 the
 
clarinet,
 contra
 melody
 
cello.
 


 

17
 

19
 Two
 girls
 at
 

Caravan
 

Tuba,
 trombone,
 trumpet,
 

the
 same
 time
 

Tune
 

violin,
 piano.
 

20
 Forced
 

Main
 theme/
  Piano,
 brass,
 strings,
 main
 

inside
 the
 

Mr.
 Nick’s
 

theme
 fast
 played
 with
 

Imaginarium.
 

theme/
 

horns
 and
 trombones,
 snare
 


 Anton
 and
 Tony
 

Anton’s
 

drum,
 harmonica
 playing
 

theme
 

the
 theme
 afterward.
 
 

46:05-­‐
 47:42
 
(A) 47:42-­‐
49:00
 
 
(B) 49:15-­‐
 
 

Mr.
 Nick’s
 theme
 on
 the
 sax.
 
(B)
 Main
 theme
 with
 the
 
celli,
 accompanying
 
 by
 
strings.
 
Anton’s
 theme
 clarinet,
 
harp,
 flute,
 strings,
 chimes,
 
piano.
 
21
 

Main
 

(A)
 Theme
 in
 the
 accordion,
  (A)
 52:30-­‐

Parnassus’s
 

theme
 

mentioning
 theme
 violin,
 

54:00
 

Tale
 about
 

brass
 clusters/
 fluttered.
 


 

Valentna’s
 

Theme
 violin,
 major
 

(B)
 54:34-­‐

mother.
 

variation
 (harmonic
 

55:15
 


 
 

change),
 strings
 tremolo
 


 Tony
 and
 

mainly.
 

Valentina
 

(B)
 Clarinet
 and
 oboe
 with
 
melody,
 harp,
 strings,
 
harmonica,
 accordion,
 flute.
 

22
 Anton
 running
  -­‐
 Anton’s
 

(A)
 Flute
 solo,
 extreme
 

(A)
 58:
 04-­‐
 

away
 
 

theme
 
 

dynamic
 changes
 strings,
 

58:32
 


 
 

-­‐
 New
 source
  low
 string
 pizzicato
 ,
 Anton
 

(B)
 58:35-­‐

music
 

59:30
 

theme
 and
 then
 soft
 WW.
 

-­‐
 Mentioning
 
Beethoven’s
 
9th
 
23
 Tony
 in
 the
 


 

Imaginarium
  Imaginarium
 theme
 

18
 

1:01:40-­‐
 

imaginarium
 

Theme
 /
 

trumpet,
 timpani,
 strings,
 

Main
 theme
 

violin
 with
 theme,
 brass,
 
 

1:07:28
 

Piano,
 bandoneon,
 violin,
 
harmonica,
 chimes,
 strings,
 
accordion,
 harp,
 clarinet,
 
choir.
 
Mr.
 Nick’s
 blues-­‐piano,
 main
 
theme
 with
 the
 dead
 on
 the
 
violin,
 piano
 accompanying,
 
melodic
 and
 harmonic
 
change,
 brass,
 mentioning
 
the
 theme
 which
 was
 
played
 in
 the
 beginning
 of
 
the
 cue.
 
24
 Rich
 woman
 

Mr.
 Nick’s
 

after
 Imaginarium
 
 
  theme
 

Mr.
 Nick’s
 motive
 with
 the
 

1:07:45
 

harp
 and
 violin,
 bad
 guys
 
come-­‐
 brass,
 piano,
 
doublebass,
 woodwinds.
 

25
 Chasing
 Tony
 

Chasing
 

Melody
 on
 clarinet,
 strings,
 

1:10:20-­‐
 

in
 the
 

Tony
 Theme
  oboe,
 piano,
 brass.
 

1:12:42
 


 

Strings,
 bassoon,
 brass,
 

1:13:00-­‐
 

clarinet,
 mentioning
 irish
 

1:15:45
 

imaginarium
 
26
 Still
 in
 the
 
Imaginarium
 

music-­‐
 whistle.
 
Police
 song-­‐
 piano,
 
woodwinds,
 and
 marching
 
band.
 
27
 Tony
 to
 

Anton’s
 

Woodwinds,
 accordion,
 

1:18:50-­‐
 

Anton-­‐
 the
 truth
 

Theme
 

harp,
 flute,
 clarinet,
 

1:20:00
 

harmonica,
 strings.
 
 
28
 Knock
 of
 Mr.
 

Mr,
 Nick’s
 

Strings,
 bassoon,
 clarinet
 

1:21:15-­‐
 

Nick
 

Theme
 /
 

and
 oboe,
 Mr.
 Nick’s
 theme
 

1:26:45
 


 

19
 

Immortality
 

with
 bassoon
 and
 later
 with
 

Theme
 /
 

sax,
 immortality
 theme
 with
 

Valentina’s
 

clarinet.
 

Theme
 

Valentina’s
 theme
 played
 by
 
woodwinds,
 main
 theme
 
played
 by
 strings,
 Alto
 flute,
 
harp.
 

29
 Don’t
 believe
 


 

Brass,
 strings
 

what
 you
 read
 in
 

1:29:00-­‐
 
1:30:20
 

the
 news
 papers.
 
30
 Tony
 and
 

Main
 Theme
  Alto
 flute,
 strings,
 harp,
 

Valentina
 on
 the
 

theme
 with
 different
 

boat.
 

harmony.
 

31
 9th
 of
 

Sourse
 

Beethoven
 and
 

music
 


 

1:31:10-­‐
 
1:31:40
 
1:32:50-­‐
 
1:34:00
 

choir
 
32
 Small
 Anton
 in
  Chasing
 

(A)
 Woodwinds
 dissonant,
 

(A) 1:34:25

the
 Imaginarium
 

Tony
 

brass.
 Low
 strings,
 
 

-­‐

Theme/
 

(B)
 chasing
 Tony
 theme
 by
 

1:35:40
 

Main
 theme
 

piano
 and
 brass
 

(B)
 

(C)
 main
 theme
 played
 by
 

1:36:07
 

strings
 accompanying
 by
 
 

(C) 1:37:50
 

piano
 and
 woodwinds.
 

(D) 1:39:10
 

Brass
 mentioning
 the
 main
 
theme.
 
(D)
 Tango:
 piano,
 clarinet
 
and
 sax
 with
 melody,
 vibes,
 
percussion
 (highs-­‐
 shaker
 
and
 etc.)
 ,
 woodwinds
 
33
 Mr.
 Nick
 and
 

Mr.
 Nick’s
 

Brass,
 strings,
 sax
 is
 playing
  1:40:00
 

Parnassus
 on
 the
 

Theme
 /
 

Mr.
 Nick’s
 theme,
 drum
 set
 

cliff.
 

Immortality
 

with
 brushes,
 walking
 bass,
 


 

20
 

Theme
 

strings,
 high
 pitched
 
whistle,
 brass,
 bass
 drum,
 
timpani.
 

34
 Parnassus
 lost
  Main
 theme
 


 Woodwinds,
 strings,
 Main
 

in
 desert
 

theme
 played
 by
 English
 

1:45:45
 

horn,
 bassoon,
 harpsichord,
 
glock,
 strings.
 Main
 theme
 
by
 bassoon,
 horns,
 oboe
 and
 
strings.
 
35
 Parnassus
 

Opening
 


 Cello
 duet
 

1:47:00
 

begs
 
 

Theme
 

36
 Valentina’s
 

Valentina’s
 

The
 theme
 played
 by
 alto
 

1:47:20
 

passes
 by
 

Theme
 

flute,
 brass,
 harp,
 strings,
 
woodwinds.
 

37
 Percy
 shows
 

Main
 Theme
  Cello
 plays
 the
 theme
 

up
 

1:49:20
 

bassoon,
 chimes,
 harp,
 
strings.
 

38
 Back
 to
 start
 

Caravan
 

Brass,
 guitar,
 piano,
 double
 

Tune
 

bass,
 trumpet
 and
 violin
 
with
 melody.
 


 

 

 

 

 

 

 

 

 

 

 

 

21
 

1:49:40
 

Conclusion
 

 
In
  this
  paper
  I
  tried
  to
  examine
  whether
  the
  music
  in
  the
  movie
  “The
 
Imaginarium
  of
  Doctor
  Parnassus”
  reveals
  or
  suggests
  the
  end
  of
  the
  movie
 
before
 we
 as
 viewers
 are
 watching
 it.
 
As
  composers
  we
  experience
  a
  unique
  task,
  telling
  the
  story,
  supporting
 
the
 moment
 but
 also
 we
 give
 our
 own
 input
 and
 interpretation.
 While
 we
 know
 
the
 characters
 and
 the
 plot
 in
 a
 way
 no
 viewer
 will
 ever
 know,
 we
 live
 with
 these
 
characters
 and
 images
 from
 the
 movie
 and
 we
 go
 on
 a
 special
 journey
 with
 them.
 
Sometimes
  we
  develop
  feeling
  for
  them
  because
  we
  went
  on
  a
  long
  way
  with
  the
 
film
  and
  we
  also
  know
  the
  future
  of
  these
  characters
  and
  plot,
  this
  is
  where
 
sometime
  we
  write
  music
  to
  describe
  the
  subtext
  and
  sometimes
  we
  are
  even
 
ask
 to
 do
 so.
 
In
  several
  projects
  I
  did
  this
  past
  year
  with
  a
  few
  directors
  this
  subject
 
came
  up,
  supporting
  the
  moment
  or
  supporting
  the
  things
  which
  yet
  to
  be
 
revealed
 in
 the
 movie.
 Some
 directors
 sometimes
 will
 ask
 for
 it,
 to
 write
 music
 
that
 brings
 a
 different
 and
 hidden
 significance
 and
 some
 of
 them
 will
 ask
 you
 to
 
support
 the
 scene
 as
 if
 it
 was
 the
 only
 thing
 existed.
 
 In
 the
 score
 of
 the
 film
 “The
 
Imaginarium
  of
  Doctor
  Parnassus”
  I
  came
  to
  notice
  that
  the
  music
  mostly
 
support
 the
 moment,
 if
 the
 scene
 has
 a
 fast
 and
 upbeat
 tempo
 the
 music
 will
 be
 
act
  accordingly;
  in
  a
  dramatic,
  tensed
  and
  dark
  scene
  the
  music
  will
  feel
  the
 
same.
  No
  contrast
  what
  so
  ever.
  The
  dialogue
  in
  the
  film
  though,
  has
  a
  very
 
present
 subtext
 and
 irony,
 it
 brings
 up
 many
 moral
 issues
 handeling
 mainly
 the
 
way
  our
  capitalist
  society
  we
  live
  in
  works.
  Our
  ideal
  life,
  the
  race
  we
  all
 
participate
  to
  achieve
  the
  Ikea
  world.
  The
  music
  is
  so
  ironic
  by
  being
  so
 


 

22
 

straightforward,
  as
  if
  the
  only
  the
  moment
  counts.
  I
  a
  way,
  by
  supporting
  the
 
moment
 only,
 the
 music
 supports
 the
 subtext
 as
 well
 or
 a
 better
 way
 to
 put
 it
 is
 
to
  say-­‐
  by
  being
  so
  straightforward
  the
  music
  reveals
  the
  subtext
  of
  the
  film
 
because
 its
 contradicted
 to
 it.
 
By
 studying
 the
 score
 of
 the
 film
 “The
 Imaginarium
 of
 Doctor
 Parnassus”
 I
 
learned
 so
 much
 about
 instrumentation,
 orchestration
 but
 mainly
 I
 learned
 how
 
to
  approach
  the
  image
  and
  how
  to
  interpret
  the
  motion
  of
  the
  plot.
  I
  think
  this
  is
 
always
 the
 greatest
 challenge
 of
 all-­‐
 telling
 the
 story.
 

 


 

 

 

 
 


 

23