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Film Score Analysis 1
FILM SCORE ANALYSIS OF ETERNAL SUNSHINE OF THE SPOTLESS MIND
By
JARED THOMAS HORNE
Submitted to
Scoring for Film, Television, and Videogames Faculty
Berklee College of Music, Valencia
Department of Graduate Studies in Scoring for Film, Television, and Videogames
Palau de les Arts Reina Sofía – Anexo Sur, Av. Profesor Lopez Piñeiro, 1, 46013 Valencia,
Spain
Submitted in Fulfillment for the Requirements of
Capstone Research Project
July 10, 2014
Film Score Analysis 2
Abstract
The aim of this paper is to analyze the score composed for the film Eternal
Sunshine of the Spotless Mind and understand how it connects to the work’s broader
themes. This movie, released in 2004, was directed by Michel Gondry with the soundtrack
written by Jon Brion.
In this analysis, I seek to explain the strategic use of music to embody the innerthoughts of the protagonist. Because a majority of the film takes place within the mind of
the central character, and the storyline unfolds in a rather disjointed manner, the viewer
experiences a blurring between the lines of present and past, waking life and dreams. In
effect, the viewer becomes entangled in the protagonist’s mind - jumping quickly through
space, time and a catalogue of memories. It is therefore quite fitting that the music used in
the film complements the bizarre storyline with an equally eclectic instrumentation and
production value. The use of sonic texture and tone painting aids in the development of
the drama and is used strategically to reflect the shifting mental state of the protagonist.
While the opening scene and its score begin unassumingly, the viewer soon realizes
that this film is not a traditional one and that the score will not be either. A conventional film
follows a linear storyline with a correspondingly logical film score pattern. Within the typical
score, thematic material is continually revisited and developed. Yet in Eternal Sunshine of
the Spotless Mind, the critical musical elements lie not in the revisiting of themes but rather
in the use of odd instrumentation and mixing of sound design elements with musical
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elements. In essence, the score serves to personify the main character and embody the
confusion experienced in his shifting mental state.
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Composer Biography
Jon Brion is an American musician/songwriter turned record producer and film
composer. In his early twenties, he left behind a formal education to pursue music entirely.
Throughout the 1980s, he joined forces with several pop bands, first writing and
performing in a duo and later serving as a multi-instrumentalist in more acclaimed pop
bands such as The Wallflowers, Aimee Mann’s band ‘Til Tuesday, and Jellyfish.
From the connections he garnered in the music industry, he went on to produce
albums for artists such as Fiona Apple and Rufus Wainwright. In the late 1990s, he began
collaborating with film director Paul Anderson, writing and recording the score to Boogie
Nights. This experience paved the way for further work in film scoring into the 2000s, with
his music being featured in such films as I Heart Huckabees, Punch-Drunk Love and Step
Brothers. His soundtracks for Magnolia and Eternal Sunshine of the Spotless Mind even
earned him Grammy nominations for Best Score Soundtrack Album.
Now residing in Los Angeles, CA, Brion still finds time for live solo performances in
between film scoring gigs. He is known for making regular performances at the music bar
Café Largo, where he plays a variety of songs from Frank Sinatra, to Johnny Cash, and
big-band to pop hits.
Critics describe Brion’s style as quirky and idiosyncratic with pop-leaning sensibilities.
Brion describes his own style within the genre as “Unpopular Pop” - far removed from the
super-produced mainstream. As a multi-instrumentalist, we see Brion adeptly incorporate
instruments such as guitars, piano, drums, ukulele, harpsichord, and vibraphone into his
songs and film scores. Additionally, one trademark of his work is the use of sampled
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sound and tape looping. Musicians that influence Brion include The Beatles, Brian Eno,
Elvis Costello, and Queen1.
1
http://en.wikipedia.org/wiki/Jon_Brion
http://www.bluefat.com/0907/Jon_Brion.htm
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Synopsis
The storyline for Eternal Sunshine of the Spotless Mind follows the life of a reserved,
30-something man named Joel Barish and his love story with the beautiful, restless
Clementine Kruczynski. The opening scene of the film shows Joel lying in bed on a cold
winter’s morning, somehow compelled to skip work and opt instead for an adventurous
outing to Montauk Beach in Long Island. Here we see what appears to be Joel’s first
encounter with Clementine on a lonely train car heading out of New York City. Later, the
pair bump into each other again at an old diner where the two sense an undeniable
attraction. They cozy up together on the subway back into the city exuding a very palpable
chemistry. As the evening carries on, the couple heads back to Clementine’s apartment
for a drink and end up spending several hours together getting to know each other. Later
that night, the two venture out onto a frozen lake where they lie next to each other on the
ice, looking at the stars, holding hands and laughing as they make up names of
constellations.
However, as the film progresses, the viewer learns that what we perceive as their
first encounter in the opening scene is actually not their first meeting at all. In fact, the two
at that point were actually ex-lovers who had their memories of the other erased in order to
forget their painful breakup. Therefore, what we see as the first scene of the film in reality is
documenting the moments after their erased relationship. At a subconscious level, Joel
was unable to eradicate Clementine from his mind, and in fact, felt compelled to save their
Film Score Analysis 7
relationship. Thus, in the opening scene, while the two have no recollection of the other,
fate has reunited them for a second chance at love.
After witnessing an innate connection that arises the day of their second encounter,
the storyline begins to warp. From here, we jump back in time to the end of their first real
relationship. We see Joel sobbing alone in his car. He later heads into his apartment alone,
visibly disturbed. He opens a bottle of prescription pills, takes one, and goes to bed. This
disturbing flash back in time is really the first sense of foreboding that the viewer
experiences; not everything is as perfect between the two as it ostensibly seemed.
From here the storyline is in great part limited to what is happening inside Joel’s
sleeping mind. In fact, it is at this point that the memory deletion process begins and the
visual elements of the scenery begin to unravel in front of our eyes. Backgrounds fade into
black, words melt off of signs and lights flicker. All of these bizarre incidences are indicative
that the deletion process is in effect, degrading the very details of Joel’s memories. During
this erasing procedure, the viewer continues to travel backwards through Joel’s memory,
beginning with the most recent -and most painful- memory of Clementine: their breakup
and her decision to delete their relationship from her mind. We watch Joel relive the
moment he realized Clementine had deleted him from her life. His friends reveal that she
underwent a medical procedure that effectively wiped her brain of all memories she held of
Joel. Upon discovering that Clementine had deleted him from her existence, Joel also
decided to receive the same treatment to put their troubled romance behind. Through the
lens of Joel’s memory, we witness their final argument and sense that they are far less
enamored than their encounter in Montauk.
Film Score Analysis 8
Within this dream-like state, Joel lives out the significant memories he shared with
Clementine until they disintegrate in front of his eyes. Scenery crumbles, Clementine
disappears, and the memory slowly fades into nonexistence. But, as the procedure moves
further back in time to their days of budding romance, Joel realizes that he truly loves her
and that he doesn’t want to erase Clementine from his life. So the challenge becomes
escaping the clutches of this memory-wiping device and preserving Clementine in the
obscure corners of his mind so as to never lose her. The two race together through a
catalogue of shared moments, seeking desperately to avoid the disintegration of their
collective experience.
The last memory wiped from Joel’s mind is that of their very first true encounter. We
see the two running along a summer shore, joining up with mutual friends at a beach
party. As their surroundings fade away and the ground they stand on crumbles into
nothingness, Clementine whispers to Joel, “Meet me at Montauk.” With those final words
ringing in his ears, Joel wakes up from his dream-like state. The memory-deletion has
been successfully completed, yet subconsciously he is compelled to seek out Clementine
again.
We return to the very opening scene of the film, where Joel is lying in bed with a
warm morning sun filtering into the room. The film’s ending scene actually loops back into
the beginning of the film, when he awakes and decides to go to Montauk on a whim. With
this apparently cyclical storyline, the viewer is left to determine if the two are locked an
endless cycle of doomed love or if they are somehow able to break from their failed past,
learn from their previous mistakes, and forge ahead with an even stronger love.
Film Score Analysis 9
Film Score Analysis 10
Analysis
As mentioned previously, the film itself and consequently the scored music
accompanying it is unlike that of many traditional film scores. Knowing this gives us the
proper lens through which to listen to and analyze the score of the film. Unlike much film
score music of the past or present, we as listeners are presented with a score that centers
less on thematic and motivic development but more upon style, instrumentation, and sonic
complexity. The thematic material is somewhat important in aiding the drama of this film as
there are several thematic centers used during the film, but what will quickly become
apparent is that this is not ultimately the most important dramatic tool Brion uses in the
score. The storyline unfolds in a non-linear fashion and the music serves as a mirror to the
protagonist’s inner emotions and confused mental state. This musical story-telling
technique provides a powerful sonic backdrop to the drama. So, thematic material, in
essence, becomes a way of navigating the chronology of this film and anchoring the
viewer more than developing musical motifs for any characters or plotline. Because of the
odd nature and disjointed storytelling style implemented in the film, any analysis must be
approached in a similarly abstract way. A traditional analysis would miss out on the
eclectic depth present in the score.
My analysis attempts to break down the film into several discrete sections where
we observe marked changes in the score whether it be in instrumentation or style. Though
I have established these parameters subjectively, they are nevertheless a way to analyze
the score more effectively through its various points of evolution.
Film Score Analysis 11
The title music of this film at 00:00:36 (Score excerpt below) is one of the most
unassuming yet fully developed pieces of music written for this film. As we see our
protagonist in the opening shot of the film, the listener hears a piano playing a gentle,
melancholic melody. There is only one brief moment of modulation to a B section but it
quickly returns to the A section before leaving us with main characters Joel and
Clementine on the beach. The structure and style of the cue is very songlike in nature, with
a simple melodic line accompanied by a relatively repetitive left-hand accompaniment.
Already we see Brion’s unique sound palette in action during this opening sequence as the
piano has been prepared so that the bass strings are muted. This creates a sort of plucky,
whimsical sound quality. (Audio example - Title Sequence https://www.youtube.com/watch?v=qlSbT5XODiE&list=PL9A26C61C0D36C198)
It is in this section of the film that we hear the score in its most simple and
unconfused state; as if we are starting with a blank slate on which to build. Only after
watching the movie in its entirety does this musical tactic make sense - the movie begins
with the protagonist being given a new lease on life. Yet later as the story begins to warp,
the music adjusts in style to reflect the mental state of the main character. Instruments
become muddled and incoherent, forming part of a confusing landscape. This opening
scene of catharsis and melodic clarity also loops back and is repeated at the film’s close.
Film Score Analysis 12
We begin to see a metamorphosis begin almost immediately in the film as we see
what looks to be like the first time Joel and Clementine meet. In reality, however, this is
their second encounter after having their memories erased. At 00:05:00, we hear a playful
and intermittent cue that almost seems to come in and out of existence as if it is mirroring
the spark of chemistry unfolding between our main characters, reminiscent of their shared
romantic history. The orchestration is small, with only a bassoon, two clarinets, and a flute;
however it is already a marked departure from the title music in terms of style and
orchestration/instrumentation. We hear this playful and quirky cue meander around as Joel
and Clem get to know each other, but it does not feel or sound like overly complicated or
Film Score Analysis 13
overwrought music. Brion simply wants to convey a sort of awkward connection growing
between these two people.
It isn’t until 00:12:56 that we hear a new thematic development and what is
perhaps the most important cue of the film, Phone Call (Audio example - Phone Call https://www.youtube.com/watch?v=0EE6Qyvo_kc&list=PL9A26C61C0D36C198&index=
19). We have just seen Joel and Clementine return home after a day spent together getting
to know each other for a second time. What immediately strikes the listener is how
different the instrumentation is again from earlier cues. Brion uses this as an opportunity to
create thematic material that is memorable not in its melodic content or its development,
but rather in its sonic value. It is memorable, but not as we might think of thematic material
in many films. It may not even be something that one might hum, but it does have a way of
lingering in the listener’s head. What makes it so memorable, as mentioned previously, is
its production value. As Joel leaves Clementine’s apartment, we are struck with a repetitive
and heavily effected guitar pattern played by two acoustic guitars in a tight harmony. This
guitar idea is memorable primarily because of its lo-fi quality and odd harmonic
progression. The guitars sound hazy and distant and almost trip over themselves at times
as they seem to bounce in and out of phase with each other momentarily. (Score excerpt
below)
Film Score Analysis 14
Film Score Analysis 15
2
13
Gtr.
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14
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nœ bœ #œ œ œ œ œ
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Here, it is apparent that what Brion has done is created a strong musical concept in
a much different way than might be done in a more traditional film score. In essence, he
has created a theme for Joel and Clementine not melodically but instrumentally and with
unique production quality. This sonic expression seems to somehow mirror the production
style of the film as well; specifically, this guitar line sounds as though it could’ve been
recorded on a four-track tape recorder. There is a grainy, nostalgic warmth that Brion has
created with this thematic material simply by using an untraditional and unexpected sound.
At only thirteen minutes into the film it is clear that the score will not be developed in a
traditional manner and that the sonic elements themselves play a more important role in
the development of the score than melodic or harmonic information.
At 00:17:37 we jump again to a different moment in the story’s chronology. Shifting
now to the couple’s breakup, we see Joel crying and hear the source music song
‘Everybody’s Gotta Learn Sometime’ performed by the artist Beck. This is, in fact, the
Film Score Analysis 16
moment after Joel has realized that Clem has had him erased from her memory. At the
point, the film’s opening credits are played, implying that this could be the movie’s opening
sequence. At this point in the score, the instrumentation remains very traditional both in
compositional style and production value. Musically, nothing is markedly strange apart
from the cue called Phone Call. However, this shift in plot does represent a shift musically
as well. What the listener comes to realize, though, is that Brion makes these transitions
seamlessly. This way of conceptualizing the score at times seems to enhance the
nebulous confusion of the film and is also employed as a way to personify characters or
events.
At this point in the story, it is important to make a distinction before things start to
change dramatically. Every bit of music up to this point is what we might call Waking
Music. The instrumentation, style and effect of the music have all been similar:
understated, simple, and never confused as we have only seen Joel in his waking state.
The musical material the listener begins to hear at 00:20:02 can be thought of as
transitional. In fact, this is the first moment in the film when the listener can start to call into
question whether or not what he is hearing is part of the score or simply sound design
elements. However, that question is answered quickly as we realize that what we are
hearing is meant to function as score. Though it may not sound to us like a traditional
score, it’s primary function is the same: to bolster what is happening on screen and
increase its dramatic effect. This particular scene is important for this very reason. Its
purpose is to bridge the gap between two very different sections of the film. We begin to
notice a shift in style almost immediately when Joel takes the sleeping pill. Though the
Film Score Analysis 17
viewer at this point in the film does not know exactly what is happening, strange musical
elements begin to filter in, and change feels imminent.
From here, every event that follows is a memory being played out in Joel’s mind.
Scraped cymbals, gongs, bells, high-pitched reversed samples, and low droning noises
start to appear as we watch Joel fumble around through his apartment. This odd
percussive cue continues and at 00:21:50 as this strange soundscape progresses, we
hear more elements begin to creep in slowly. First a distant, hazy piano enters that is
clearly meant to have no relation to the other musical elements in this cue - personifying
the disconnect we witness in Joel’s mind. The music mirrors the odd nature of what is
happening on screen as we watch Joel drift through various memories. Fuzzy, distorted
sounds pulse in and out, and low chirping woodwinds enter as well adding to the
cacophony. Finally, this short sequence ends as Joel snaps to a firm memory at the house
of his friends Rod and Carrie. This is only a momentary break from the strange and
confused music from before, though.
As Joel enters into this memory with his friends, the music cuts out. The viewer at
this point might be deceived into thinking they have somehow entered back into Joel’s
reality, however, it quickly becomes apparent he is recalling a memory during this
sequence as he enters into yet another memory while explaining to Rod and Carrie that
Clementine had ignored him in the bookstore. As Joel seemingly walks out of the
bookstore, we see that he is actually walking out of that particular memory and back into
the memory we found him in with his friends. As this long sequence finishes, Joel and the
viewer realize at the same moment that Clementine has had Joel erased from her memory.
Film Score Analysis 18
As the scene ends and Joel’s friend Rod explains what Clementine has done, this musical
sequence closes rather abruptly with a sharp crescendoing cluster chord played by strings
and woodwinds. Additionally, we hear spooky synthesized sounds and bowed cymbals
join.
This sequence illustrates nicely what Brion does so well: matching the complexity in
sonorities and depth of the music with what the main character is feeling and experiencing.
More important than the actual notes or musical development is the palette of sounds
used to compliment what is happening on the screen.
The transition into what I consider to be the third section of the film begins after Joel
has met with his friends and decides to have the memory erasing procedure done on
himself. This also represents a very large shift in the music and perhaps the most
significant portion of the film both in plot development and musical development. Much of
the oddness we find in the score begins to become more and more apparent during this
large swath of the film. While the listener will hear previous thematic material during this
section of the film, it is important to recognize how this music is being used. When
previous thematic music is revisited, it is being used as a way to anchor the viewer in the
chronology of the story and to provide something to recognize during the strange events
of Joel’s memory being erased. This is somewhat different to how thematic material might
be used in a more traditional film score. However, because the viewer is constantly being
transplanted to new moments in the chronology of this story, the music helps serve as a
way to guide the viewer through the confusing plotline. That, however, is the only purpose
Film Score Analysis 19
the thematic quotes serve during this section of the film. How the music develops in
character and instrumentation is ultimately more significant.
As we now have transitioned fully into the erasure of Joel’s memories, we see a
memory of Joel’s that is the actual first time he met Clementine. This also precipitates a
long sequence that begins with one simple musical idea (Audio example – Dream Upon
Waking - https://www.youtube.com/watch?v=9TtBmuLXns&list=PL9A26C61C0D36C198&index=17).
As seen in the musical excerpt below, the musical cue at 00:30:49 ‘Dream Upon
Waking’ begins rather sluggishly with a simple accordion line playing a repetitive pattern,
which becomes the underlying musical idea supporting this sequence. (Score excerpt
below)
As the viewer moves through the sequence, he is flipped rapidly between reality
and Joel’s memories as Joel recalls the events leading up to his decision to have his
memory erased and visit to the office where the procedure will be performed. At the same
time we see medical technicians from the memory deletion service starting the procedure
Film Score Analysis 20
on Joel. This simple, repetitive musical motif is meant to create some sort of continuity
between reality and what Joel is remembering while he is asleep. It acts as a sort of glue
so the viewer doesn’t get too lost during the sequence. It is also important to note that this
sequence, like many others in the film, is not continuous. Rather, it ekes in and out of
existence, sometimes fading away unperceived.
This is the case as the cue ends at 00:31:38 and reenters at 00:31:48 by restating
the original accordion pattern, but this time an organ is added to the ensemble playing
back the same musical idea carried by the accordion. There is another brief pause in the
music and it reenters at 00:32:13 in the same fashion as before. As Joel’s mental state
becomes increasingly strained, the music works to echo this tension. All the while, the
same musical pattern pulses in and out. Odd musical elements begin to join as the stress
of the situation increases. Strange vocal sounds in the far background of the mix enter,
odd metallic droning sounds enter as Joel realizes something doesn’t feel right. Strings
and woodwinds enter as well and begin to add to the tension.
At around 00:34:00 the full ensemble is added to the mix as the tension mounts
until finally at around 00:34:14 we leave Joel’s mind and see Patrick, the clinic’s
technician, alter the flow of electricity into Joel’s brain. Here, the music bends with the
different adjustments made to the instruments connected to his mind. A low-frequency
oscillator affects the volume of the entire mix as it pulses in and out and all the while we
continue to hear the ‘Dream Upon Waking’ motif drive the music forward. The tempo and
pitch seem to continuously modulate upward during this most tense moment of the cue
Film Score Analysis 21
creating a final sensation of tension. The cue ends abruptly as problems in the procedure
arise, and we flip back into reality.
This sequence is perhaps one of the most important musical moments that
supports my argument that it is actually the instrumentation, production style, and sound
design that guide the score and help create a sense of Joel’s shifting mental state. In this
particular sequence, the odd electrical sounds, intermittent quality of musical elements,
and pulsing mix convert the music into a physical presence. The viewer feels enveloped in
the sounds of the protagonist’s brain, hearing it pulse in and out of existence while
speeding up and modulating in moments of heightened duress. The score is palpably
connected to the very brain waves and synapse-firings in Joel’s mind.
As we continue on, we see that this style of music and production are used during
this part of the film as Joel’s memories are being erased. In fact, the very next sequence
incorporates even stranger musical elements. As Clementine leaves Joel for the last time,
the cue at 00:36:44 starts with low rumbling distorted sound while a piano plays atonal
and seemingly unrelated music. Low, droning woodwinds and brass enter, with shimmery
metallic sounds accompanying above. All the while, a cluster of low tones can be heard
supporting this odd mix of sounds. This musical thought ends abruptly as that particular
memory is erased. However, as Joel moves into another memory, the same music
reenters. This time the score begins simply with a drone played by bass clarinet at
00:38:00. This drone continues to pulse in and out while strings slowly enter droning with
the bass clarinet. As the memory is being erased, Joel finds himself wandering back and
forth on a street as it continuously changes directions. It is evident that he cannot catch up
Film Score Analysis 22
with Clem because the memory is fading. At this point, we hear an oboe enter playing very
rapid, unsettling runs that underline the confusion each time the street changes directions.
We pop back into a more traditional sounding cue at 00:42:33 called ‘Sidewalk
Fight’ (Audio example – Sidewalk Fight https://www.youtube.com/watch?v=dsgAQ821TQQ&list=PL9A26C61C0D36C198&index
=10) as we see Joel and Clementine fighting. This is a tactic Brion employs frequently
when moving from memory to memory. In this case, the memory is very clear and the
musical style reflects this in its straightforward instrumentation. Pizzicato strings enter,
creating a playful and simple musical expression. Sound design elements haze in around
00:42:50 with electronic noises until finally the memory is totally erased and the cue ends.
(Score excerpt below)
Film Score Analysis 23
Brion uses this new musical concept several times during this section of the film. It
enters again at 00:47:20 as Joel enters a memory we have seen before and then again as
a medical assistant goes to see Clementine at her apartment at 00:49:26. The cue itself
doesn’t develop musically, but is used as a sonic marker in the storyline. It is a way to
delineate this particular memory sequence from the rest, giving it its own sonic identity. As
we move toward the end of this sequence with the medical assistant, we hear at 00:51:58
a restatement of Joel and Clementine’s music: the cue called Phone Call. This is
significant because it becomes clear to the viewer that Patrick has tried to steal Joel’s
identity by giving Clementine a necklace that had originally been gifted to her by Joel. This
moment marks the middle point of the film and Joel realizes consciously, even though he
is asleep, that he has made a terrible decision. From this point on, he intends to fight the
deletion procedure occurring in his mind.
Joel now actively tries to work against the procedure, and in keeping with the
strange and chronologically confusing plotline, we see Joel struggle to remember
moments with Clementine that have already been erased. It is also during this long
sequence of events that Clementine, awake and existing outside of Joel’s mind, realizes
that something is not right while dating Patrick.
At 00:54:45 we hear tense strings build into an ostinato rhythm then carried by low
strings as Joel begins to diverge from his memories of Clementine in an attempt to prevent
them from being erased. Musically, this marks a shift as we leave behind some of the odd
instrumentation and production quality we have heard through most of the third section of
the film. We now hear more determined and generally less confused music. Though Joel is
Film Score Analysis 24
still undergoing the procedure, it is clear that this shift in the quality of the music embodies
his newfound determination to stop the procedure from advancing. Brion matches the
intent of the music to the altering mental state of Joel. One might argue that new motivic
information being presented here is an important musical event; but what is more
important is the shift in the sonic palette being employed during this sequence. This
continues to be the case for much of the final part of the memory erasure procedure.
During this long sequence of events as Joel loses his final memories of Clem, Brion
reflects the sort of stream of conscious movement of the plotline as Joel moves from one
non-Clementine memory to another. Often, cues start and end abruptly during this
sequence and don’t necessarily relate to one another in terms of thematic information. It is
really during this section as Joel brings Clementine into various childhood memories that
the music changes most frequently in style and instrumentation. Although musically this
section of the film doesn’t necessarily develop any new ideas, it certainly is effective in
bolstering the rapidly changing emotional and mental state of Joel. For example, at
1:00:57 Brion suddenly shifts the musical feeling after a somewhat tense moment in the
film to something more playful as Joel and Clementine escape into a memory of Joel as a
child. We hear a sort of restatement of the cue ‘Sidewalk Fight’ begin and serve as a very
gentle backdrop to Joel’s childhood scenes with Clementine. This gentle flowing feeling
doesn’t last long however as Brion shifts the mood of the music abruptly at 1:08:30 as we
see Joel lose Clem in his childhood memory. A very dark and ominous drone carries us to
a new memory that Joel must now flee from. The score between 1:10:02 and 1:15:47 is
simply meant to create a sort of montage of musical events that are thematically unrelated
Film Score Analysis 25
and don’t necessarily remind us earlier motivic information. As we watch Joel and Clem
scramble to remain together, it becomes evident that Joel’s memories are not going to last
and his attempt at escaping the procedure will not ultimately be effective.
A shift that transitions us to the final section of the film occurs as we see Joel and
Clem in the bookstore in apparently what is one of Joel’s first memories with Clem. It is
clear to the viewer that Joel is resigned to the fact that his memories will ultimately be
taken from him and we hear this reflected in what might be the most gentle and
understated music in the entire score. At 1:22:21, as Joel relives one of his first
discussions with Clem, a slow moving Cello idea enters that is gradually joined by a small
string ensemble. What is interesting to note is that this is one of the only times in the score
that we hear strings as the only instrumentation.
We transition to the last musical section of the film as we see Joel and Clem
together on the beach in Montauk. Musically, this section of the film is really a time for
restatement of the most important musical ideas we’ve heard in the film. Notably, we hear
Joel and Clementine’s thematic material reemerge at 1:26:29 as Joel enters his final
memory of meeting Clementine on the beach. The cue is almost identical to its first
statement when see Joel leaving Clementine’s apartment for the first time. Notably
different, however, is that the guitar parts have been reversed – a clever device to support
the concept that the story is moving in reverse. One final quote of previous material enters
at 1:29:04 (Audio example – Peer Pressure https://www.youtube.com/watch?v=_zDnTb0RTBI&index=16&list=PL9A26C61C0D36C19
8)
Film Score Analysis 26
as Joel explains to Clementine that he “felt like a scared little kid” when he met her the first
time. This is the same music used during the long montage of memories being erased as
we see Joel as a child being humiliated by his friends. While this sort of quoting hasn’t
been common in much of the film, Brion uses this tool well in the final moments of the film.
Finally, we exit Joel’s sleeping mind as we see him wake up in his bed. This takes us to
where we first saw him as the film began. It makes sense then that Brion gives us the title
cue again. The only new material Brion introduces is at 1:39:27 as we see Joel and
Clementine decide to give another try at their relationship. Much as before, this music is
very simple and traditional in instrumentation. It is a very solemn and slow moving string
instrumentation that carries the viewer to the final scene of the film.
In the above discussion we have seen many examples of the eccentric mechanisms
Jon Brion employed throughout the film. Thematic material, while present in the score, has
not been the driving force of its development. The shifting sonic palette, quirky
instrumentation, and production quality that Brion implements serve not only to blur the
lines between memory and reality within the film, but also have the effect of meshing the
viewer’s experience with that of the main character’s. This fusion could not be
accomplished solely through thematic development used in more traditional film scores. It
is in this way that Brion brings us into the mind of the main character and we experience
the turbulent journey he undergoes. As Brion says of his own music, "While the sound of [a
piece] is less important than the chords and melody, I'm completely obsessed with giving
a song a sonic quality where it feels like the odd piece of living sculpture that is an
Film Score Analysis 27
outgrowth from that song's DNA.2" It is through this unique musical interpretation that the
viewer connects with the protagonist and comes to experience his inner workings on a
most intimate level.
It is clear to me that Brion doesn’t seek to create a beautiful soundtrack through
this score that can stand alone. In fact, I believe this film’s music cannot stand alone. It is
instead so inextricably linked to the main character’s psyche that to extract it would render
the music meaningless.
2
http://www.bluntreview.com/reviews/jonbrion.html
FILM SCORE ANALYSIS OF ETERNAL SUNSHINE OF THE SPOTLESS MIND
By
JARED THOMAS HORNE
Submitted to
Scoring for Film, Television, and Videogames Faculty
Berklee College of Music, Valencia
Department of Graduate Studies in Scoring for Film, Television, and Videogames
Palau de les Arts Reina Sofía – Anexo Sur, Av. Profesor Lopez Piñeiro, 1, 46013 Valencia,
Spain
Submitted in Fulfillment for the Requirements of
Capstone Research Project
July 10, 2014
Film Score Analysis 2
Abstract
The aim of this paper is to analyze the score composed for the film Eternal
Sunshine of the Spotless Mind and understand how it connects to the work’s broader
themes. This movie, released in 2004, was directed by Michel Gondry with the soundtrack
written by Jon Brion.
In this analysis, I seek to explain the strategic use of music to embody the innerthoughts of the protagonist. Because a majority of the film takes place within the mind of
the central character, and the storyline unfolds in a rather disjointed manner, the viewer
experiences a blurring between the lines of present and past, waking life and dreams. In
effect, the viewer becomes entangled in the protagonist’s mind - jumping quickly through
space, time and a catalogue of memories. It is therefore quite fitting that the music used in
the film complements the bizarre storyline with an equally eclectic instrumentation and
production value. The use of sonic texture and tone painting aids in the development of
the drama and is used strategically to reflect the shifting mental state of the protagonist.
While the opening scene and its score begin unassumingly, the viewer soon realizes
that this film is not a traditional one and that the score will not be either. A conventional film
follows a linear storyline with a correspondingly logical film score pattern. Within the typical
score, thematic material is continually revisited and developed. Yet in Eternal Sunshine of
the Spotless Mind, the critical musical elements lie not in the revisiting of themes but rather
in the use of odd instrumentation and mixing of sound design elements with musical
Film Score Analysis 3
elements. In essence, the score serves to personify the main character and embody the
confusion experienced in his shifting mental state.
Film Score Analysis 4
Composer Biography
Jon Brion is an American musician/songwriter turned record producer and film
composer. In his early twenties, he left behind a formal education to pursue music entirely.
Throughout the 1980s, he joined forces with several pop bands, first writing and
performing in a duo and later serving as a multi-instrumentalist in more acclaimed pop
bands such as The Wallflowers, Aimee Mann’s band ‘Til Tuesday, and Jellyfish.
From the connections he garnered in the music industry, he went on to produce
albums for artists such as Fiona Apple and Rufus Wainwright. In the late 1990s, he began
collaborating with film director Paul Anderson, writing and recording the score to Boogie
Nights. This experience paved the way for further work in film scoring into the 2000s, with
his music being featured in such films as I Heart Huckabees, Punch-Drunk Love and Step
Brothers. His soundtracks for Magnolia and Eternal Sunshine of the Spotless Mind even
earned him Grammy nominations for Best Score Soundtrack Album.
Now residing in Los Angeles, CA, Brion still finds time for live solo performances in
between film scoring gigs. He is known for making regular performances at the music bar
Café Largo, where he plays a variety of songs from Frank Sinatra, to Johnny Cash, and
big-band to pop hits.
Critics describe Brion’s style as quirky and idiosyncratic with pop-leaning sensibilities.
Brion describes his own style within the genre as “Unpopular Pop” - far removed from the
super-produced mainstream. As a multi-instrumentalist, we see Brion adeptly incorporate
instruments such as guitars, piano, drums, ukulele, harpsichord, and vibraphone into his
songs and film scores. Additionally, one trademark of his work is the use of sampled
Film Score Analysis 5
sound and tape looping. Musicians that influence Brion include The Beatles, Brian Eno,
Elvis Costello, and Queen1.
1
http://en.wikipedia.org/wiki/Jon_Brion
http://www.bluefat.com/0907/Jon_Brion.htm
Film Score Analysis 6
Synopsis
The storyline for Eternal Sunshine of the Spotless Mind follows the life of a reserved,
30-something man named Joel Barish and his love story with the beautiful, restless
Clementine Kruczynski. The opening scene of the film shows Joel lying in bed on a cold
winter’s morning, somehow compelled to skip work and opt instead for an adventurous
outing to Montauk Beach in Long Island. Here we see what appears to be Joel’s first
encounter with Clementine on a lonely train car heading out of New York City. Later, the
pair bump into each other again at an old diner where the two sense an undeniable
attraction. They cozy up together on the subway back into the city exuding a very palpable
chemistry. As the evening carries on, the couple heads back to Clementine’s apartment
for a drink and end up spending several hours together getting to know each other. Later
that night, the two venture out onto a frozen lake where they lie next to each other on the
ice, looking at the stars, holding hands and laughing as they make up names of
constellations.
However, as the film progresses, the viewer learns that what we perceive as their
first encounter in the opening scene is actually not their first meeting at all. In fact, the two
at that point were actually ex-lovers who had their memories of the other erased in order to
forget their painful breakup. Therefore, what we see as the first scene of the film in reality is
documenting the moments after their erased relationship. At a subconscious level, Joel
was unable to eradicate Clementine from his mind, and in fact, felt compelled to save their
Film Score Analysis 7
relationship. Thus, in the opening scene, while the two have no recollection of the other,
fate has reunited them for a second chance at love.
After witnessing an innate connection that arises the day of their second encounter,
the storyline begins to warp. From here, we jump back in time to the end of their first real
relationship. We see Joel sobbing alone in his car. He later heads into his apartment alone,
visibly disturbed. He opens a bottle of prescription pills, takes one, and goes to bed. This
disturbing flash back in time is really the first sense of foreboding that the viewer
experiences; not everything is as perfect between the two as it ostensibly seemed.
From here the storyline is in great part limited to what is happening inside Joel’s
sleeping mind. In fact, it is at this point that the memory deletion process begins and the
visual elements of the scenery begin to unravel in front of our eyes. Backgrounds fade into
black, words melt off of signs and lights flicker. All of these bizarre incidences are indicative
that the deletion process is in effect, degrading the very details of Joel’s memories. During
this erasing procedure, the viewer continues to travel backwards through Joel’s memory,
beginning with the most recent -and most painful- memory of Clementine: their breakup
and her decision to delete their relationship from her mind. We watch Joel relive the
moment he realized Clementine had deleted him from her life. His friends reveal that she
underwent a medical procedure that effectively wiped her brain of all memories she held of
Joel. Upon discovering that Clementine had deleted him from her existence, Joel also
decided to receive the same treatment to put their troubled romance behind. Through the
lens of Joel’s memory, we witness their final argument and sense that they are far less
enamored than their encounter in Montauk.
Film Score Analysis 8
Within this dream-like state, Joel lives out the significant memories he shared with
Clementine until they disintegrate in front of his eyes. Scenery crumbles, Clementine
disappears, and the memory slowly fades into nonexistence. But, as the procedure moves
further back in time to their days of budding romance, Joel realizes that he truly loves her
and that he doesn’t want to erase Clementine from his life. So the challenge becomes
escaping the clutches of this memory-wiping device and preserving Clementine in the
obscure corners of his mind so as to never lose her. The two race together through a
catalogue of shared moments, seeking desperately to avoid the disintegration of their
collective experience.
The last memory wiped from Joel’s mind is that of their very first true encounter. We
see the two running along a summer shore, joining up with mutual friends at a beach
party. As their surroundings fade away and the ground they stand on crumbles into
nothingness, Clementine whispers to Joel, “Meet me at Montauk.” With those final words
ringing in his ears, Joel wakes up from his dream-like state. The memory-deletion has
been successfully completed, yet subconsciously he is compelled to seek out Clementine
again.
We return to the very opening scene of the film, where Joel is lying in bed with a
warm morning sun filtering into the room. The film’s ending scene actually loops back into
the beginning of the film, when he awakes and decides to go to Montauk on a whim. With
this apparently cyclical storyline, the viewer is left to determine if the two are locked an
endless cycle of doomed love or if they are somehow able to break from their failed past,
learn from their previous mistakes, and forge ahead with an even stronger love.
Film Score Analysis 9
Film Score Analysis 10
Analysis
As mentioned previously, the film itself and consequently the scored music
accompanying it is unlike that of many traditional film scores. Knowing this gives us the
proper lens through which to listen to and analyze the score of the film. Unlike much film
score music of the past or present, we as listeners are presented with a score that centers
less on thematic and motivic development but more upon style, instrumentation, and sonic
complexity. The thematic material is somewhat important in aiding the drama of this film as
there are several thematic centers used during the film, but what will quickly become
apparent is that this is not ultimately the most important dramatic tool Brion uses in the
score. The storyline unfolds in a non-linear fashion and the music serves as a mirror to the
protagonist’s inner emotions and confused mental state. This musical story-telling
technique provides a powerful sonic backdrop to the drama. So, thematic material, in
essence, becomes a way of navigating the chronology of this film and anchoring the
viewer more than developing musical motifs for any characters or plotline. Because of the
odd nature and disjointed storytelling style implemented in the film, any analysis must be
approached in a similarly abstract way. A traditional analysis would miss out on the
eclectic depth present in the score.
My analysis attempts to break down the film into several discrete sections where
we observe marked changes in the score whether it be in instrumentation or style. Though
I have established these parameters subjectively, they are nevertheless a way to analyze
the score more effectively through its various points of evolution.
Film Score Analysis 11
The title music of this film at 00:00:36 (Score excerpt below) is one of the most
unassuming yet fully developed pieces of music written for this film. As we see our
protagonist in the opening shot of the film, the listener hears a piano playing a gentle,
melancholic melody. There is only one brief moment of modulation to a B section but it
quickly returns to the A section before leaving us with main characters Joel and
Clementine on the beach. The structure and style of the cue is very songlike in nature, with
a simple melodic line accompanied by a relatively repetitive left-hand accompaniment.
Already we see Brion’s unique sound palette in action during this opening sequence as the
piano has been prepared so that the bass strings are muted. This creates a sort of plucky,
whimsical sound quality. (Audio example - Title Sequence https://www.youtube.com/watch?v=qlSbT5XODiE&list=PL9A26C61C0D36C198)
It is in this section of the film that we hear the score in its most simple and
unconfused state; as if we are starting with a blank slate on which to build. Only after
watching the movie in its entirety does this musical tactic make sense - the movie begins
with the protagonist being given a new lease on life. Yet later as the story begins to warp,
the music adjusts in style to reflect the mental state of the main character. Instruments
become muddled and incoherent, forming part of a confusing landscape. This opening
scene of catharsis and melodic clarity also loops back and is repeated at the film’s close.
Film Score Analysis 12
We begin to see a metamorphosis begin almost immediately in the film as we see
what looks to be like the first time Joel and Clementine meet. In reality, however, this is
their second encounter after having their memories erased. At 00:05:00, we hear a playful
and intermittent cue that almost seems to come in and out of existence as if it is mirroring
the spark of chemistry unfolding between our main characters, reminiscent of their shared
romantic history. The orchestration is small, with only a bassoon, two clarinets, and a flute;
however it is already a marked departure from the title music in terms of style and
orchestration/instrumentation. We hear this playful and quirky cue meander around as Joel
and Clem get to know each other, but it does not feel or sound like overly complicated or
Film Score Analysis 13
overwrought music. Brion simply wants to convey a sort of awkward connection growing
between these two people.
It isn’t until 00:12:56 that we hear a new thematic development and what is
perhaps the most important cue of the film, Phone Call (Audio example - Phone Call https://www.youtube.com/watch?v=0EE6Qyvo_kc&list=PL9A26C61C0D36C198&index=
19). We have just seen Joel and Clementine return home after a day spent together getting
to know each other for a second time. What immediately strikes the listener is how
different the instrumentation is again from earlier cues. Brion uses this as an opportunity to
create thematic material that is memorable not in its melodic content or its development,
but rather in its sonic value. It is memorable, but not as we might think of thematic material
in many films. It may not even be something that one might hum, but it does have a way of
lingering in the listener’s head. What makes it so memorable, as mentioned previously, is
its production value. As Joel leaves Clementine’s apartment, we are struck with a repetitive
and heavily effected guitar pattern played by two acoustic guitars in a tight harmony. This
guitar idea is memorable primarily because of its lo-fi quality and odd harmonic
progression. The guitars sound hazy and distant and almost trip over themselves at times
as they seem to bounce in and out of phase with each other momentarily. (Score excerpt
below)
Film Score Analysis 14
Film Score Analysis 15
2
13
Gtr.
& #œ
Gtr.
&
14
Gtr.
Gtr.
#œ
& #œ
&
#œ
œ #œ
œ
œ
œ
œ
#œ
bœ #œ
œ
œ
œ
œ
#œ
#œ œ #œ œ œ œ œ
bœ #œ #œ œ œ œ œ
bœ
#œ
œ
œ
œ
œ œ œ œ œ œ
nœ bœ #œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
bœ
#œ
#œ œ #œ œ œ œ œ Ó
œ bœ #œ œ œ œ œ Ó
Here, it is apparent that what Brion has done is created a strong musical concept in
a much different way than might be done in a more traditional film score. In essence, he
has created a theme for Joel and Clementine not melodically but instrumentally and with
unique production quality. This sonic expression seems to somehow mirror the production
style of the film as well; specifically, this guitar line sounds as though it could’ve been
recorded on a four-track tape recorder. There is a grainy, nostalgic warmth that Brion has
created with this thematic material simply by using an untraditional and unexpected sound.
At only thirteen minutes into the film it is clear that the score will not be developed in a
traditional manner and that the sonic elements themselves play a more important role in
the development of the score than melodic or harmonic information.
At 00:17:37 we jump again to a different moment in the story’s chronology. Shifting
now to the couple’s breakup, we see Joel crying and hear the source music song
‘Everybody’s Gotta Learn Sometime’ performed by the artist Beck. This is, in fact, the
Film Score Analysis 16
moment after Joel has realized that Clem has had him erased from her memory. At the
point, the film’s opening credits are played, implying that this could be the movie’s opening
sequence. At this point in the score, the instrumentation remains very traditional both in
compositional style and production value. Musically, nothing is markedly strange apart
from the cue called Phone Call. However, this shift in plot does represent a shift musically
as well. What the listener comes to realize, though, is that Brion makes these transitions
seamlessly. This way of conceptualizing the score at times seems to enhance the
nebulous confusion of the film and is also employed as a way to personify characters or
events.
At this point in the story, it is important to make a distinction before things start to
change dramatically. Every bit of music up to this point is what we might call Waking
Music. The instrumentation, style and effect of the music have all been similar:
understated, simple, and never confused as we have only seen Joel in his waking state.
The musical material the listener begins to hear at 00:20:02 can be thought of as
transitional. In fact, this is the first moment in the film when the listener can start to call into
question whether or not what he is hearing is part of the score or simply sound design
elements. However, that question is answered quickly as we realize that what we are
hearing is meant to function as score. Though it may not sound to us like a traditional
score, it’s primary function is the same: to bolster what is happening on screen and
increase its dramatic effect. This particular scene is important for this very reason. Its
purpose is to bridge the gap between two very different sections of the film. We begin to
notice a shift in style almost immediately when Joel takes the sleeping pill. Though the
Film Score Analysis 17
viewer at this point in the film does not know exactly what is happening, strange musical
elements begin to filter in, and change feels imminent.
From here, every event that follows is a memory being played out in Joel’s mind.
Scraped cymbals, gongs, bells, high-pitched reversed samples, and low droning noises
start to appear as we watch Joel fumble around through his apartment. This odd
percussive cue continues and at 00:21:50 as this strange soundscape progresses, we
hear more elements begin to creep in slowly. First a distant, hazy piano enters that is
clearly meant to have no relation to the other musical elements in this cue - personifying
the disconnect we witness in Joel’s mind. The music mirrors the odd nature of what is
happening on screen as we watch Joel drift through various memories. Fuzzy, distorted
sounds pulse in and out, and low chirping woodwinds enter as well adding to the
cacophony. Finally, this short sequence ends as Joel snaps to a firm memory at the house
of his friends Rod and Carrie. This is only a momentary break from the strange and
confused music from before, though.
As Joel enters into this memory with his friends, the music cuts out. The viewer at
this point might be deceived into thinking they have somehow entered back into Joel’s
reality, however, it quickly becomes apparent he is recalling a memory during this
sequence as he enters into yet another memory while explaining to Rod and Carrie that
Clementine had ignored him in the bookstore. As Joel seemingly walks out of the
bookstore, we see that he is actually walking out of that particular memory and back into
the memory we found him in with his friends. As this long sequence finishes, Joel and the
viewer realize at the same moment that Clementine has had Joel erased from her memory.
Film Score Analysis 18
As the scene ends and Joel’s friend Rod explains what Clementine has done, this musical
sequence closes rather abruptly with a sharp crescendoing cluster chord played by strings
and woodwinds. Additionally, we hear spooky synthesized sounds and bowed cymbals
join.
This sequence illustrates nicely what Brion does so well: matching the complexity in
sonorities and depth of the music with what the main character is feeling and experiencing.
More important than the actual notes or musical development is the palette of sounds
used to compliment what is happening on the screen.
The transition into what I consider to be the third section of the film begins after Joel
has met with his friends and decides to have the memory erasing procedure done on
himself. This also represents a very large shift in the music and perhaps the most
significant portion of the film both in plot development and musical development. Much of
the oddness we find in the score begins to become more and more apparent during this
large swath of the film. While the listener will hear previous thematic material during this
section of the film, it is important to recognize how this music is being used. When
previous thematic music is revisited, it is being used as a way to anchor the viewer in the
chronology of the story and to provide something to recognize during the strange events
of Joel’s memory being erased. This is somewhat different to how thematic material might
be used in a more traditional film score. However, because the viewer is constantly being
transplanted to new moments in the chronology of this story, the music helps serve as a
way to guide the viewer through the confusing plotline. That, however, is the only purpose
Film Score Analysis 19
the thematic quotes serve during this section of the film. How the music develops in
character and instrumentation is ultimately more significant.
As we now have transitioned fully into the erasure of Joel’s memories, we see a
memory of Joel’s that is the actual first time he met Clementine. This also precipitates a
long sequence that begins with one simple musical idea (Audio example – Dream Upon
Waking - https://www.youtube.com/watch?v=9TtBmuLXns&list=PL9A26C61C0D36C198&index=17).
As seen in the musical excerpt below, the musical cue at 00:30:49 ‘Dream Upon
Waking’ begins rather sluggishly with a simple accordion line playing a repetitive pattern,
which becomes the underlying musical idea supporting this sequence. (Score excerpt
below)
As the viewer moves through the sequence, he is flipped rapidly between reality
and Joel’s memories as Joel recalls the events leading up to his decision to have his
memory erased and visit to the office where the procedure will be performed. At the same
time we see medical technicians from the memory deletion service starting the procedure
Film Score Analysis 20
on Joel. This simple, repetitive musical motif is meant to create some sort of continuity
between reality and what Joel is remembering while he is asleep. It acts as a sort of glue
so the viewer doesn’t get too lost during the sequence. It is also important to note that this
sequence, like many others in the film, is not continuous. Rather, it ekes in and out of
existence, sometimes fading away unperceived.
This is the case as the cue ends at 00:31:38 and reenters at 00:31:48 by restating
the original accordion pattern, but this time an organ is added to the ensemble playing
back the same musical idea carried by the accordion. There is another brief pause in the
music and it reenters at 00:32:13 in the same fashion as before. As Joel’s mental state
becomes increasingly strained, the music works to echo this tension. All the while, the
same musical pattern pulses in and out. Odd musical elements begin to join as the stress
of the situation increases. Strange vocal sounds in the far background of the mix enter,
odd metallic droning sounds enter as Joel realizes something doesn’t feel right. Strings
and woodwinds enter as well and begin to add to the tension.
At around 00:34:00 the full ensemble is added to the mix as the tension mounts
until finally at around 00:34:14 we leave Joel’s mind and see Patrick, the clinic’s
technician, alter the flow of electricity into Joel’s brain. Here, the music bends with the
different adjustments made to the instruments connected to his mind. A low-frequency
oscillator affects the volume of the entire mix as it pulses in and out and all the while we
continue to hear the ‘Dream Upon Waking’ motif drive the music forward. The tempo and
pitch seem to continuously modulate upward during this most tense moment of the cue
Film Score Analysis 21
creating a final sensation of tension. The cue ends abruptly as problems in the procedure
arise, and we flip back into reality.
This sequence is perhaps one of the most important musical moments that
supports my argument that it is actually the instrumentation, production style, and sound
design that guide the score and help create a sense of Joel’s shifting mental state. In this
particular sequence, the odd electrical sounds, intermittent quality of musical elements,
and pulsing mix convert the music into a physical presence. The viewer feels enveloped in
the sounds of the protagonist’s brain, hearing it pulse in and out of existence while
speeding up and modulating in moments of heightened duress. The score is palpably
connected to the very brain waves and synapse-firings in Joel’s mind.
As we continue on, we see that this style of music and production are used during
this part of the film as Joel’s memories are being erased. In fact, the very next sequence
incorporates even stranger musical elements. As Clementine leaves Joel for the last time,
the cue at 00:36:44 starts with low rumbling distorted sound while a piano plays atonal
and seemingly unrelated music. Low, droning woodwinds and brass enter, with shimmery
metallic sounds accompanying above. All the while, a cluster of low tones can be heard
supporting this odd mix of sounds. This musical thought ends abruptly as that particular
memory is erased. However, as Joel moves into another memory, the same music
reenters. This time the score begins simply with a drone played by bass clarinet at
00:38:00. This drone continues to pulse in and out while strings slowly enter droning with
the bass clarinet. As the memory is being erased, Joel finds himself wandering back and
forth on a street as it continuously changes directions. It is evident that he cannot catch up
Film Score Analysis 22
with Clem because the memory is fading. At this point, we hear an oboe enter playing very
rapid, unsettling runs that underline the confusion each time the street changes directions.
We pop back into a more traditional sounding cue at 00:42:33 called ‘Sidewalk
Fight’ (Audio example – Sidewalk Fight https://www.youtube.com/watch?v=dsgAQ821TQQ&list=PL9A26C61C0D36C198&index
=10) as we see Joel and Clementine fighting. This is a tactic Brion employs frequently
when moving from memory to memory. In this case, the memory is very clear and the
musical style reflects this in its straightforward instrumentation. Pizzicato strings enter,
creating a playful and simple musical expression. Sound design elements haze in around
00:42:50 with electronic noises until finally the memory is totally erased and the cue ends.
(Score excerpt below)
Film Score Analysis 23
Brion uses this new musical concept several times during this section of the film. It
enters again at 00:47:20 as Joel enters a memory we have seen before and then again as
a medical assistant goes to see Clementine at her apartment at 00:49:26. The cue itself
doesn’t develop musically, but is used as a sonic marker in the storyline. It is a way to
delineate this particular memory sequence from the rest, giving it its own sonic identity. As
we move toward the end of this sequence with the medical assistant, we hear at 00:51:58
a restatement of Joel and Clementine’s music: the cue called Phone Call. This is
significant because it becomes clear to the viewer that Patrick has tried to steal Joel’s
identity by giving Clementine a necklace that had originally been gifted to her by Joel. This
moment marks the middle point of the film and Joel realizes consciously, even though he
is asleep, that he has made a terrible decision. From this point on, he intends to fight the
deletion procedure occurring in his mind.
Joel now actively tries to work against the procedure, and in keeping with the
strange and chronologically confusing plotline, we see Joel struggle to remember
moments with Clementine that have already been erased. It is also during this long
sequence of events that Clementine, awake and existing outside of Joel’s mind, realizes
that something is not right while dating Patrick.
At 00:54:45 we hear tense strings build into an ostinato rhythm then carried by low
strings as Joel begins to diverge from his memories of Clementine in an attempt to prevent
them from being erased. Musically, this marks a shift as we leave behind some of the odd
instrumentation and production quality we have heard through most of the third section of
the film. We now hear more determined and generally less confused music. Though Joel is
Film Score Analysis 24
still undergoing the procedure, it is clear that this shift in the quality of the music embodies
his newfound determination to stop the procedure from advancing. Brion matches the
intent of the music to the altering mental state of Joel. One might argue that new motivic
information being presented here is an important musical event; but what is more
important is the shift in the sonic palette being employed during this sequence. This
continues to be the case for much of the final part of the memory erasure procedure.
During this long sequence of events as Joel loses his final memories of Clem, Brion
reflects the sort of stream of conscious movement of the plotline as Joel moves from one
non-Clementine memory to another. Often, cues start and end abruptly during this
sequence and don’t necessarily relate to one another in terms of thematic information. It is
really during this section as Joel brings Clementine into various childhood memories that
the music changes most frequently in style and instrumentation. Although musically this
section of the film doesn’t necessarily develop any new ideas, it certainly is effective in
bolstering the rapidly changing emotional and mental state of Joel. For example, at
1:00:57 Brion suddenly shifts the musical feeling after a somewhat tense moment in the
film to something more playful as Joel and Clementine escape into a memory of Joel as a
child. We hear a sort of restatement of the cue ‘Sidewalk Fight’ begin and serve as a very
gentle backdrop to Joel’s childhood scenes with Clementine. This gentle flowing feeling
doesn’t last long however as Brion shifts the mood of the music abruptly at 1:08:30 as we
see Joel lose Clem in his childhood memory. A very dark and ominous drone carries us to
a new memory that Joel must now flee from. The score between 1:10:02 and 1:15:47 is
simply meant to create a sort of montage of musical events that are thematically unrelated
Film Score Analysis 25
and don’t necessarily remind us earlier motivic information. As we watch Joel and Clem
scramble to remain together, it becomes evident that Joel’s memories are not going to last
and his attempt at escaping the procedure will not ultimately be effective.
A shift that transitions us to the final section of the film occurs as we see Joel and
Clem in the bookstore in apparently what is one of Joel’s first memories with Clem. It is
clear to the viewer that Joel is resigned to the fact that his memories will ultimately be
taken from him and we hear this reflected in what might be the most gentle and
understated music in the entire score. At 1:22:21, as Joel relives one of his first
discussions with Clem, a slow moving Cello idea enters that is gradually joined by a small
string ensemble. What is interesting to note is that this is one of the only times in the score
that we hear strings as the only instrumentation.
We transition to the last musical section of the film as we see Joel and Clem
together on the beach in Montauk. Musically, this section of the film is really a time for
restatement of the most important musical ideas we’ve heard in the film. Notably, we hear
Joel and Clementine’s thematic material reemerge at 1:26:29 as Joel enters his final
memory of meeting Clementine on the beach. The cue is almost identical to its first
statement when see Joel leaving Clementine’s apartment for the first time. Notably
different, however, is that the guitar parts have been reversed – a clever device to support
the concept that the story is moving in reverse. One final quote of previous material enters
at 1:29:04 (Audio example – Peer Pressure https://www.youtube.com/watch?v=_zDnTb0RTBI&index=16&list=PL9A26C61C0D36C19
8)
Film Score Analysis 26
as Joel explains to Clementine that he “felt like a scared little kid” when he met her the first
time. This is the same music used during the long montage of memories being erased as
we see Joel as a child being humiliated by his friends. While this sort of quoting hasn’t
been common in much of the film, Brion uses this tool well in the final moments of the film.
Finally, we exit Joel’s sleeping mind as we see him wake up in his bed. This takes us to
where we first saw him as the film began. It makes sense then that Brion gives us the title
cue again. The only new material Brion introduces is at 1:39:27 as we see Joel and
Clementine decide to give another try at their relationship. Much as before, this music is
very simple and traditional in instrumentation. It is a very solemn and slow moving string
instrumentation that carries the viewer to the final scene of the film.
In the above discussion we have seen many examples of the eccentric mechanisms
Jon Brion employed throughout the film. Thematic material, while present in the score, has
not been the driving force of its development. The shifting sonic palette, quirky
instrumentation, and production quality that Brion implements serve not only to blur the
lines between memory and reality within the film, but also have the effect of meshing the
viewer’s experience with that of the main character’s. This fusion could not be
accomplished solely through thematic development used in more traditional film scores. It
is in this way that Brion brings us into the mind of the main character and we experience
the turbulent journey he undergoes. As Brion says of his own music, "While the sound of [a
piece] is less important than the chords and melody, I'm completely obsessed with giving
a song a sonic quality where it feels like the odd piece of living sculpture that is an
Film Score Analysis 27
outgrowth from that song's DNA.2" It is through this unique musical interpretation that the
viewer connects with the protagonist and comes to experience his inner workings on a
most intimate level.
It is clear to me that Brion doesn’t seek to create a beautiful soundtrack through
this score that can stand alone. In fact, I believe this film’s music cannot stand alone. It is
instead so inextricably linked to the main character’s psyche that to extract it would render
the music meaningless.
2
http://www.bluntreview.com/reviews/jonbrion.html
