{"version":"1.0","type":"rich","provider_name":"Bj\u00f6rk.fr \u2013 Site francophone d\u00e9di\u00e9 \u00e0 Bj\u00f6rk : musique, clips et actualit\u00e9s","provider_url":"https:\/\/www.bjork.fr","title":"favourite film music composer","author_name":"","width":"480","height":"315","url":"http:\/\/bjork.fr\/favourite-film-music-composer","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/bjork.fr\/favourite-film-music-composer'\u003Efavourite film music composer\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EWhat I most admire is when the film and the score are seamless, and one plus one makes five. Alfred Hitchcock\u2019s stuff with Bernard Herrmann is a good example. Although I\u2019m not fan of Hitchcock or thrillers particularly, the relationship between the music and the visuals in \"The Ghost\" and \"Mrs Muir\" is almost perfect. You can\u2019t imagine one without the other. It\u2019s the same with Stanley Kubrick. He had a really sensitive, deep understanding of using music in film, even although a lot of the (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}