MUSIC: "NARA" by E.S. Posthumus
VIDEO SIZE: 11.6 MB
LENGTH: 04:55 minutes
NUMBER OF CLIPS: 65
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Re-Mastered & Rereleased: June 15, 2008
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COMMENTS:
THE SCORE - Because I was interested in making videos to a whole suite of music by E.S. Posthumus, "NARA" was a must. The music is very atmospheric, and had the steady rhythm that is very useful for structuring the video. However, the music is a bit repetitive, and for its length, nearly 5 minutes, can become boring if the complementing footage is too bland in subject material. The main melody, a repeating sequence of drums, strings, and flutes, appear, to me, to be very reflective, almost meditatory, music. So it seemed appropriate to create a video to reflect upon some of the mysteries, hardships, and tensions of season 1-4.
COMPOSITION - In order to add diversity to this score, I used a large number of rotating shots, zoom shots, and footage where there the characters turn, in order to give the video a sense of depth.
In composing these scenes, there was a deliberate introduction of characters. The video starts with a view of our dynamic duo walking into a dark hallway and opening a door into a basketball court (from PAPER HEARTS) with their backs to the camera, concealing their faces, but emphasizing their body language. The opening of the door metaphorically parallels the opening of the video, as they step into the light of the basketball court.
The next scene is a partial introduction of Mulder as the camera pans slowly from his fingers to his arm, and then a partial view of his face in repose (from PAPER HEARTS). Again emphasizing his body language, the delicate and slight movement of his fingers the cloth hearts on the table suggests his thoughts as his trip with serial killer John Lee Roche proves unfruitful. The next scene is a turnaround, which starts with a view of his back, similar to his posture in the previous scene, but this time resulting in a complete view of his face, fully completing the introduction. This scene is also heavy with emotional subtext (from MOMENTO MORI).
The next few scenes introduce Scully, following the same pattern as the previous scenes for Mulder. Scully wades through dim light and turns her head to survey the environment of her near undoing in UNRUHE, while the next clip is a zooms close on her expression of disbelief at the mass suicide in THE FIELD WHERE I DIED.
PATTERNS - One of the melodies that thread through the score is a very poignant flute solo that is piercing even in its simplicity. So the flute solos are accompanied by clips of Mulder and Scully's joint resolve during times of apprehension, as well as their promise to continue their search for truths. For example, Scully's bedside vigil from END GAME, and a light-hearted moment in PAPER HEARTS.
At about 02:47 minutes in the video, there is a sequence of footage depicting Scully's emotional and physical investments in the X-Files and in Mulder. Included are clips of her fear and relief after the oil explosion in TUNGUSKA, Mulder pointing a feverish gun at her in ICE, Scully sensing danger in a bar in TEMPUS FUGIT, Scully screaming at Ed Jerse in NEVER AGAIN, as well as moments of tenderness, confusion, fear, and relief from FIRE, IRRESISTIBLE, LAZARUS, BEYOND THE SEA, and TEMPUS FUGIT.
Directly following this sequence of motifs involving Scully's physical and emotional difficulties, is Mulder's response to Scully's trials. Included are clips such as Mulder's search for truths about the medical experiments done on the MUFON women in MOMENTO MORI, his reckless quest to find her in ASCENSION, as well as his apprehension and helplessness exhibited during Scully's own dream sequence in ONE BREATH.
Near the end of the score, the rhythm loses its intensity and the flute solo drops off into a more atmosphere, less organized structure than as before. In order to keep the video itself from drifting off similarly, I used a variety of different zoom shots, such as the camera panning downward in MAX, Scully turning around confused in UNREQUITED, as well as Scully looking at Mulder's wall art in disbelief in GROTESQUE.
