Part II: Science Fiction
C. Supplementary Research: Alien Forms
Contents
1. Prologue
During the initial study considering the science fiction chapter of this research, there was a need that was starting to grow in relation to the visual description of the alien forms. As the preliminary research started to take form and shape its perspective, questions rose in view of the relationship between music composition, instrumentation and the overall cinematic experience which seemed detached at certain points. Of course, this, by all means, does not apply to every occasion; nonetheless it is an observation that was noticed in a number of film examples so that it could justify its meaning and more importantly its research validity.
What is also important to mention, for clarification reasons, is that the above thesis is by no means diminishing the effectiveness of the original scores in relation to the final emotional outcome of the viewing experience. Nonetheless, it was a quite apparent aspect that fed the need to focus a bit more on this subject, as it was thought as quite important extension of the previously discussed problematic nature of science fiction films in view of Middle Eastern related music idiosyncrasies.
2. Rationale
For this task, there was a number of new films that, as well as many previous ones that have been revisited with this new focus in mind, have been examined and will be discussed further on. It is important to state that the choice of films is based on a number of important facts. At first, and as a more generic point, it was imperative to have enough examples of each examined case, which will be presented further on in the films’ categorization, so that it could prove the validity of the initial question. Therefore, the primary chronological formation of the films thought to be an effective way of starting this supplementary study, as it has proved its significance in the previous research found in the science fiction and Intolerance chapters.
Secondly, each generated category of alien forms was representing the outcomes of numerous similar films that have been reviewed and now included in the research. For example, the films It Came from Outer Space, Target Earth and Devil Girl from Mars could all be used as models representing similar findings in several other films of the 1950s such as The Monolith Monsters (1957), This Island Earth (1955), Plan 9 from Outer Space (1957) among many others. Similarly, the same viewpoint applies to Independence Day, Sphere and The Abyss in relation to films such as Species (1995), Star Trek: Insurrection (1998) et. al. Consequently, the outcomes’ significance and range of similar applied techniques is what justifies the selections.
Another aspect is the films’ reputation, importance and contribution in the formation of a specific genre. An explicit example of this position is the Alien series, and in particular the first Alien picture, as it is highly regarded as one of the main films which defined the course of future science fiction horror films.
In his discussion considering the body horror establishment in the Hollywood cinema, Bramesco (2017) states that ‘Alien still stands as the film’s crowning achievement over 35 years after the fact, a sublime fusion of the gory and the unsettling’. Bramesco’s view, together with an additional interesting article considering the Alien film’s contribution by Mekado Murphy of the New York Times, can be found by using the following links:
Finally, perhaps the most important and self-explanatory reason behind the selection of specific films is the apparent appropriateness in view of the initial hypothesis. This means that films like Stargate, Alien vs. Predator and John Carter fully justify their assortment due to their visual scenic nature that most of the times directly presents or implies a connection with ancient civilizations, either associated with human cultures or alien forms.
3. List of films / Categorization
The list of films that had been studied and will be discussed is the one below (in chronological order):
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Invaders from Mars (1953)
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It Came from Outer Space (1953)
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Devil Girl from Mars (1954)
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Target Earth (1954)
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Earth vs. the Flying Saucers (1956)
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The Angry Red Planet (1959)
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Close Encounters of the Third Kind (1977)
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Alien (1979)
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Enemy Mine (1985)
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Aliens (1986)
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Predator (1987)
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The Abyss (1989)
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Alien 3 (1992)
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Stargate (1994)
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Mars Attacks! (1996)
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The Arrival (1996)
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Independence Day (1996)
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Alien Resurrection (1997)
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The Fifth Element (1997)
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Dark City (1998)
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Sphere (1998)
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Mission to Mars (2000)
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Alien vs. Predator (2004)
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The Day the Earth Stood Still (2008)
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Cowboys & Aliens (2011)
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Prometheus (2012)
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Pacific Rim (2013)
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Arrival (2016)
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Independence Day: Resurgence (2016)
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Alien Covenant (2017)
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Underwater (2020)
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Skylines (2020)
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Sputnik (2020)
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Invasion (2020)
After watching the films and taking a few preliminary notes, it was obvious that a strategic plan should be constructed in order for the discussion to make sense and of course without losing connection with the main research angle.
This decision was made after the many problems and questions that have arisen such as ‘What is the connection between an alien civilization and music?’, ‘How do composers mix sound design with the classical orchestra in which situations and why?’, ‘How does the music change between sci-fi genres and are there any main scoring characteristics in each genre?’ etc.
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Of course, the core subject remained the same in view of the extent to which ethnic music has been used, the situation and specific or general context that has been used in relation to the visual and the degree of depth considering the connection and/or experimentation with Eastern ethnic elements.
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At first it was thought best that each film should be discussed separately but as the research was reaching further to the actual characteristics of each film’s score, and depending on the genre, a form of categorization started to appear which would be really supportive not only in the preliminary analysis but also in the final results that would have been drawn.
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Although scores differentiate from each other in several different areas, there were key elements found connecting and grouping them together forming in such a way a pragmatic communication in the overall construction and feel of the music.
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Consequently, the initial list of films was separated and assembled in the following categories (each group in chronological order):
Action - Horror
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Alien (1979)
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Aliens (1986)
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Predator (1987)
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Alien 3 (1992)
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Alien vs. Predator (2004)
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Prometheus (2012)
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Alien Covenant (2017)
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Underwater (2020)
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Sputnik (2020)
Action - Adventure - Mystery (Hostile Aliens)
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It Came from Outer Space (1953)
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The Angry Red Planet (1959)
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Independence Day (1996)
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Sphere (1998)
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Cowboys & Aliens (2011)
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Pacific Rim (2013)
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Independence Day: Resurgence (2016)
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Skylines (2020)
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Invasion (2020)
Action - Adventure - Mystery (Friendly Aliens)
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Close Encounters of the Third Kind (1977)
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Enemy Mine (1985)
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The Abyss (1989)
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Mission to Mars (2000)
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Arrival (2016)
Action - Adventure - Comedy
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Mars Attacks! (1996)
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The Fifth Element (1997)
Robotic - Form Aliens​
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Target Earth (1954)
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Earth vs. the Flying Saucers (1956)
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The Day the Earth Stood Still (2008)
Anthropomorphic Aliens​
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Invaders from Mars (1953)
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Devil Girl from Mars (1954)
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Stargate 1994)
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The Arrival (1996)
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Dark City (1998)
4. Exploration / Aesthetics
Action - Horror
This category predominantly consists of one big group of the Alien films franchise starting from the original Alien produced in 1979 and stretching through the 2017s Alien Covenant.
The musical interpretation of alien species and scenes’ environments share some common characteristics that are presented in the table below:
- Alien (1979 – Score by Jerry Goldsmith)
- Aliens (1986 – Score by James Horner)
- Alien 3 (1992 - Score by Elliot Goldenthal)
These three first films of the Alien franchise share a number of features when comparing Goldsmith’s and Horner’s scores in view of the description of aliens and alien scenery. One of the most apparent being the symphonic orchestra's expanded dynamics following the video relationship with scoring crescendos, strings marcatos and bass flutter most vividly used when representing action scenes. It is worth noting that symphonic brass instruments have a leading role creating a dominant atmosphere in most scenes as it is widely used throughout the entire film. The latter together with the overall atonal character contribute to the overall atmosphere of the hostile, terrifying alien species.
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Aliens (1986) - Video 1
Aliens (1986) - Video 2
Alien 3 follows the same overall scoring structure as the two previous films, predominantly in aliens’ close-up scenes (video 1). In addition, Gondethal differentiates his angle introducing high pitch, fast moving percussion, mixed in a dry and wide perspective, when describing the 3D graphics alien's first-person camera perspective (video 2).
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Alien 3 - Video 1
Alien 3 - Video 2
- Alien vs. Predator (2004 – Score by Harald Closer)
Alien vs. Predator is a quite interesting blend of the two films, both in terms of the script and the scenery always in connection with how it has been described by the music score. This is also a film that has been discussed before in terms of Closer's overall scoring approach. This section will present an additional focus on the alien forms and their scoring connotations.
The film has a very strong and clear character considering the plot and location as it is referring, or implying to, the building of pyramids, ancient ruins and civilization, rituals etc. It visually blends all these aspects together with both the ‘Alien’ and ‘Predator’ species which was found to be a perfectly relevant example and a forthcoming opportunity to experiment with scoring and present the findings in more detail, something that will take place later on in the research.
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When musically observing both ‘Aliens’ and ‘Predators’, Closer’s point of view meets the previously discussed films in quite a few key aspects. The chromatic scoring style, of course, is quite apparent and expected, as it is observed in the majority of films in the sci-fi horror genre. Frequent dynamic changes, rich-sounding full symphonic orchestra, rising crescendo cues are all there but with the addition of even more harmonic sections throughout the film and especially in long action scenes.
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It seems that the latter creates a form of connection and interaction between humans and alien species due to the nature of the film’s narrative and chronological periods included. In this aspect, it is worth noting that this is the first ‘Alien’ film which is taking place on planet Earth which is an undoubtedly interesting point considering the increased harmonic nature of the score.
Alien vs. Predator - Video 1
​Another interesting facet of the score is the use of synthetic sounds. Sound design is less apparent, at least in terms of length and simultaneous use with the symphonic orchestra, when compared to earlier films of the franchise but it makes a strong and dominant appearance when presented as a frequent section within a scoring cue.
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This is being presented, commencing at "00:09", in the following video:
Alien vs. Predator - Video 2
An additional meeting point of this film and other films such as the original Predator (1986) and Aliens (1989) is the use of the snare drum in order to describe the military human characters. As it happens with those two films, in this situation the snare drum has been used for a similar reason, signifying the beginning of a joint forces operation only this time to differentiate visually because of the ‘Predator’s’ and human’s bond.
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It also feels and looks more tribal, since during the specific scene the human character uses the Alien’s body parts as weapons and shield. This has also found to be something that slightly contradicts the selection of the symphonic orchestra’s snare drum.
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The following video includes this observation at "1:32":
Alien vs. Predator - Video 3
Although the film has a number of visual references to the history of mankind, with a viewpoint of ancient cultures, as well as the actual connection that may exist between ‘Aliens’, ‘Predators’ and the human race, the composer presents no obvious scoring approach towards a more ethnic music direction. This is apparent both in instrumentation and harmonic structure, e.g. Eastern-colour scales and modes or ethnic instruments' implementation.
- Prometheus (2012 – Score by Marc Steitenfeld)
- Alien Covenant (2017 – Score by Jed Kurzel)
Moving forward in time, Prometheus score by Marc Streitenfeld and Alien Covenant by Jed Kurzel add a freshness of thinking especially in view of the aliens’ musical interpretation. Beside the common angle of symphonic orchestra motifs and transitions (Prometheus video 2 and video 3), there is an obvious tendency of both composers to use more processed sounds that are heavily manipulated, scored in a minimalistic way which reflects the description of the alien species. Although there is no apparent use of ethnic instruments in both films, the scores' music character together with its intended harmonic uncomplexity succeed in capturing and transferring the feeling of an ancient alien, human-like civilization with societal characteristics (Prometheus video 1, Alien Covenant video 1).
In the case of Alien Covenant, Kurzel uses a simple three-note chord in horns, sound designed or heavily processed, and intervals of fifths in a stylistic way which serves the implied time-based nature of the picture.
Prometheus - Video 2
Prometheus - Video 3
Prometheus - Video 1
Alien Covenant - Video 1
- Underwater
(2020 – Score by Marco Beltrami & Brandon Roberts)
Moving furthermore in time and reaching closer to today's 2022, we can observe a film that shares similarities with the Alien franchise in terms of extraterrestrial horrific creatures, only this time the plot is based around the earth’s deep ocean. In most cases there is a combination of a symphony orchestra with sound design as well as fast-performing synthetic textures that contribute to an anxious, pressurized, claustrophobic atmosphere in accordance to the scene.
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The difference in Underwater is the way the composer is using his synthetic sounds’ palette which is in a quite different way as all the previous films’ examples. One of the things that set this scoring approach apart is how emphatic the use of repetition in background textures is, the synth sounds’ arpeggiators, and how minimalism is used on several occasions to describe the emptiness of the character’s dramatic feelings and/or the vast hollowness of the ocean’s depths. These aspects can be demonstrated in the following videos:
Underwater - Video 1
Underwater - Video 2
This hybrid scoring style often uses brass single notes as dramatic sound impacts connecting with the visual appearance of underwater aliens. Always in conjunction with heavily process and sound design, this can be demonstrated in the following example:
Underwater - Video 10
An interesting aspect is also the use and manipulation of tempo-based synthetic sounds that increase or decrease their repetition curve and frequency characteristics depending on the pace of the actual scene. This presents a new angle in action scenes increasing their intense atmosphere.
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In some cases the designed sound can be relatively percussive and atonal (video 3) and in other cases offer a background textural motion, much similar to a strings’ repeated ostinato performance in a classical orchestra, constructing the appropriate foundation for orchestral brass and strings to take part with their long scored notes (video 4).
Underwater - Video 3
Underwater - Video 4
- Sputnik (2020 – Score by Oleg Karpachev)
Although this film may drift from the initial research angle of Hollywood productions, nevertheless it seemed to serve as a very good example indeed considering the latest alien, horror film genre. One of the most diverse and distinctive features that sets this score apart is the use of bending, glissandi notes to create tension and mystery. The use of this composing technique is even more apparent in brass instruments as it is demonstrated in the two following examples:
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Sputnik - Video 1
Sputnik - Video 4
In view of the previous observation the following example presents the same technique but in a more aggressive, repeated pattern due to the intensive action nature of the scene:
Sputnik - Video 3
What is also very strong in character is the use of distortion. This is also a technical connection found between this score and the previously discussed Tenet. It certainly contributes to making a significantly more aggressive sound, creating a feeling of musical vertigo, especially in cases were instruments’ speed and repetition is fast, as is the case with the previous video example. Additionally, big-sounding drum hits, as well as low-pitched glissandos, increase the emphasisis in the sound distortion.
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Alien and human communication is in this case being scored by using only synthesised instruments. In most cases, there is an abstract, slow-moving, and steady in view of harmonic development, synth pad, or a combined number of them for that reason, which covers the entire scene’s score. This can be demonstrated in the example below:
Sputnik - Video 2
Action - Adventure - Mystery (Hostile aliens)
This is a quite different category of films so as was expected the scores were found to have quite a few different features as to the ones in the previous horror genre. By visiting and observing this selection of nine films there was a variety of points made considering the composers’ scoring approach specifically in relation to alien species. The music characteristics that found to be common between them are presented in the table below:
Perhaps one of the most significant changes which reflect directly to the actual genre and perhaps has the most strong impact which dictates the rest of the instrumentation is that almost all of the observed scores are significantly more harmonic in their very nature.
This connects respectively to two important facets of the films. The first one being the fact that in most cases the film’s location is set on planet Earth, or at least the majority of the scenes are referring to a human war against aliens which makes the films’ character to be rather human-concentrated with alien species being described as invasive enemies.
Secondly, the fact that in the majority of films’ plot the human race survives and wins this war, or attack, of the alien intruders.
The last one sets the path for an overly praising music score which consequently is emphatically harmonic, at least in view of the more dramatic scenes.
- It Came from Outer Space (1953)
(Score by Henry Mancini / Herman Stein / Irving Gertz)
- The Angry Red Planet (1959 – Score by Paul Dunlap)
It Came from Outer Space and The Angry Red Planet are two classic film examples of science fiction scores of the 1950s. One can observe the distinctive sound of the Theremin (It Came from Outer Space - video 1) together with the chromatic cues of the symphonic orchestra being more minimalistic and slow in development in the case of The Angry Red Planet. The timpani, brass and high pitched scored violins have again the protagonistic role in the instrumentation of both films:
It Came from Outer Space - Video 1
The Angry Red Planet - Video 1
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During the research there was some interesting background information found considering the creation of the score history for It Came from Outer Space and the reasoning behind the three major composers credited work. The following link leads to the related article:
- Independence Day (1996 – Score by David Arnold)
- Sphere (1998 – Score by Elliot Goldenthal)
These two selected films are demonstrating the overall scoring orchestration of science fiction films during the 1990s. The scores serves well as a confirmation of the previous statement that sci-fi action-based films during this time period were closer to classical and neoclassical music tradition. The composed music includes a full symphonic orchestra arrangement with full-range dynamics, once again relying mostly on the use of brass for this particular task, an overall melodic character and no evident inclusion of sound design when specifically describing the alien species.
In the case of the Sphere film, the absence of synthetic or heavily processed sounds could be also parallelized with the nonappearance of advanced alien technology, computers, etc., which is frequently associated with the use of sound design in science fiction films.
The music description of the aliens seems to be moving within the music character margins of the films. In other words, the scores try to keep a harmonic character without being overly atonal and/or experimental. This is an aspect that differentiates action-based science fiction films from the previous examined horror-centric ones.
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The following examples demonstrate the previous points:
Independence Day - Video 1
Independence Day - Video 3
Sphere - Video 1
- Cowboys & Aliens (2011)
(Score by Harry Gregson-Williams)
- Pacific Rim (2013 – Score by Ramin Djawadi)
- Independence Day: Resurgence (2016)
(Score by Thomas Wander and Harald Kloser)
These three films of the 2000s move away from the overall neoclassical character of the previously mentioned films and add new features that move towards a more modern, atonal territory. We can now observe high usage of different string bowing techniques, together with extensive dynamic brass crescendos and marcatos providing the score with a more aggressive character.
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What is also worth noting is the strong character of synthetically designed sounds that are used usually in tempo-synced rhythmic patterns creating a highly energetic sense of motion. This is a feature, used predominantly in Cowboys & Aliens and Pacific Rim, which most of the time commences and triggers the action scenes of the films and usually resolves in the sonic grandeur of a symphonic orchestral cue.
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These observations of hybrid scores can be observed in the following examples:
Cowboys & Aliens - Video 1
Pacific Rim - Video 1
Independence Day: Resurgence - Video 1
- Skylines (2020 – Score by Ram Khatabakhsh)
Skylines is a quite diverse film example presenting a couple of new interesting features in this film category. Before starting the discussion about the score in view of the alien species, it is important to mention that this is a case in which a film can belong in more than one of the divided categories. More specifically, it could also be a part of the next category of sci-fi films which belong to the same genre (action-adventure-mystery) but where the aliens are not hostile.
Consequently, this is a feature which indeed might affect the film’s score, as will be presented later on, due to the fact that the film’s plot is based around friendly relationships between human and aliens but also includes action scenes with hostile ones. It is quite interesting to see the findings on how the composer chooses to deal with this uncommon scheme.
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Perhaps one of the most curious characteristics of the score, in view of the friendly alien, is how the composer chooses to deal with emotional scenes. There is a tendency to maintain stability in view of the overall tempo-based synthetic score even in scenes where a composer would have an obvious opportunity to add romanticism either with an overly harmonic and busy instrumentation or by using perhaps a more modern approach with rich synthetic instruments’ chords and simple harmonic progression.
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Perhaps one of the most representing examples of this approach can be viewed in the following scene:
Skylines - Video 1
Another aspect that characterises the film's score is the frequent use of portamento sliding notes creating certain acoustic dizziness with the intention of reaching for higher dramatic levels. It is a technique that was also reportedly found in high use in the films Tenet and Sputnik.
Skylines - Video 2
Skylines - Video 4
These last two videos also reveal two more interesting features. First and foremost the examples suggest a quite strong character of a hybrid composition using sound design and symphonic orchestra. This is something that occurs in most parts of the film as well. Secondly and specifically in video 4, we have the introduction of electric distortion guitars (00:31") which is a step towards a connection between modern film music and rock/metal music, a rather different music genre or at least difficult to meet repeatedly in cinematic scores. One of the few films that had this feature and has been visited in this research was Dune with its score composed by the rock band Toto.
Going a step further towards the rock/metal direction, major fighting scenes between aliens have an even more emphatic use of this genre as it is shown in the following example:
Skylines - Video 5
- Invasion (2020 – Score by Igor Vdovin)
Invasion, the sequel to the first movie Attraction (2019), is a Russian science fiction film which was found to be very interesting and worth investigating and discussed considering the composer’s, Igor Vdonin, scoring perspective. Although it is one of the moments in this research that the material drifts from the initial angle of Hollywood based films, it is, nevertheless, worth including it here as an example of the musical combination of techniques that were not found to work together in such a way, at least in American films based on its time.
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The basic scoring idea is one; the composer moves around the main theme, a specific leitmotif of the alien species, and builds the entire score around this idea. Now, this is not something new as this was quite the norm in earlier stages of Hollywood sci-fi films, with composers like John Williams, Jerry Goldsmith, James Horner et. al. creating leitmotifs in almost every character, in almost every sci-fi film they have scored. The fact that during the passage of time this technique has been altered, which is something to be discussed further on, makes this film’s revisited approach important to include and discuss.
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So, as a first example, Vdovin makes his motif idea apparent from the very beginning of the film:
Invasion - Video 1
Additionally, and what was found to be rather important as well, is the composer’s intention of revisiting and developing the theme but without forgetting to balance it with the modern sound of films belonging in the same time period. What this means is that he uses his simple eight-note motif as a core to build an expansive, modern, hybrid rich-sounding score consisting of the symphonic orchestra and sound synthesis.
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he result of this repetition of the eight-note motif and its variations is a score that is musically memorable; a feature in film music which gradually fades away and will be discussed later on this thesis. Vdovin stays loyal to this approach even in scenes that are quite diverse in their own nature. One key example can be found in the below emotional scene:
Invasion - Video 2
A supplementary example of this motif can also be found in the next scene. This time the composer is approaching it in a rather unexpected, musically harmonic, and calm in terms of dynamics, manner contradicting with the nature of the visual, or at least a more Western approach of it, which suggests a strong, military-based weighty score.
Invasion - Video 3
There are indeed certain times in which the Attraction score awakened the memory of films’ strong leitmotifs such as the nine-note theme of the first Alien (1979) film composed by Jerry Goldsmith.
Alien Clip 1 (Nine-note Motif)
Action- Adventure - Mystery (Friendly aliens)
- Close Encounters of the Third Kind (1977)
(Score by John Williams)
During the first appearance of alien forms, John Williams is using a chromatic approach to create a sense of mystery as the humans are anxiously waiting to see what will come off the spaceship’s door. Since there is no obvious alien hostile character suggested in any previous part of the film, the composer chooses not to overly use low pitched instruments such as low orchestral brass, for the reason that he wants to achieve a mysterious atmosphere translating the humans’ anticipation and amazement drawn to their facial expressions.
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What is also interesting is the frequent portamento brass performance as well as the use of choir; two elements, both performed in soft dynamics, that act as extra layers to this enigmatic scene.
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High brass crescendo at 00:55" finally resolves to the alien’s appearance where there is also a connection with the main communication of humans and aliens five-note motif performed by low brass at 01:03".
Close Encounters of the Third Kind - Video 1
The appearance of smaller in size aliens at 02:00" signifies the introduction of high woodwinds, celeste, and harp as these higher in pitch instruments provide a fantasy colour palette that corresponds to the visual representation of the numerous small extra-terrestrial.
- Enemy Mine (1985 – Score by Maurice Jarre)
Maurice Jarre’s vision considering the music score written for describing the alien form is leaning more towards romanticism which is indeed a dominant feature inside the film but also a quality of the composer’s scoring in general.
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Jarre is using a hybrid score for the human and the alien characters. As a result, we have the marriage of two musical worlds; the human world, in which Jarre is using the symphonic orchestra, and the alien world where he uses designed instruments. The meeting point of these two worlds is the romantic character of the score reflecting the film’s overwhelming romantic nature.
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During the alien character's initial appearance, the composer presents a hybrid score with softly performed chromatic cues reaching for the mysterious atmosphere of the visual. Unstable in pitch sound designed instruments are also a contributing factor in view of the description of the otherness.
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What is also important to mention is the existence of a six-note alien’s leitmotif starting to build at around 00:08" as presented in the following video example:
Enemy Mine - Video 1
The overall romantic score approach can be viewed in the following video:
Enemy Mine - Video 2
Here one can observe the meeting of the two worlds as mentioned earlier. A fully romantic classical approach considering the human character with starting woodwinds expanding into passionate legato strings, followed by a big pause from 01:40" to 2:10" in order to create the path for passing onto the synthetic, romantic cue of the alien. In view of the last, the composer exchanges the strings and woodwinds long notes with lush pads and crystal-sounding synths accompanying the alien’s singing with rich chords progression but not in a particularly familiar/overused sequence.
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This mixture creates a romantic feeling of a different, alien world with Jarre musically stating that this is perhaps how a sensitive and highly emotional alien song might sound like in terms of music harmony.
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Reaching the scene’s end, the composer reintroduces the symphonic orchestra which in conjunction with the synths, creates a blended, harmonically expressive, score that reflects the intensive emotional camera switch between the human and alien characters in tears.
- The Abyss (1989 – Score by Alan Silvestri)
- Mission to Mars
(2000 - Score by Ennio Morricone)
The Abyss and Mission to Mars are two films scored by two world-renowned composers specifically recognized for their distinctive romantic character. Both films scores have an almost absolute instrumentation relying in the Western symphonic orchestra.
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In view of The Abyss, the underwater aliens are initially presented in vivid blue and pink emitting colours and the composers reflect this visual picture by using major chords, a slow pace Lydian mode with long notes, and choir to have a protagonist role in creating a mysterious atmosphere. The score also consists of synthetic sounds, not so frequent and prominent, as can be seen at the beginning of the following video clip:
The Abyss - Video 1
What is also worth mentioning in the previous video example is the important role of the harp and flute contributing to the creation of this fantasy non-violent, peaceful, and wandering atmosphere.
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This is also the case with the next example where the use of the harp, flute, and this time high violins Lydian mode contribute to this mysterious but calm nature of the alien presence.
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The Abyss - Video 2
As with Alan Silvestri, Ennio Morricone in Mission to Mars creates a highly emotional and memorable score. Below is a distinctive moment which focuses on the peaceful alien's nature where there is visual storytelling considering the aliens’ origin and how they are the ones responsible for the creation of life on planet Earth.
Mission to Mars - Video 1
- Arrival (2016 – Score by Jóhann Jóhannsson)
Jóhann Jóhannsson presents us with a rather different approach considering the primal reaction of seeing an alien existence. In the first scene, where the visual presents the alien spaceship, the composer introduces a simple four-note motif performed by a slightly detuned, and faintly pitch moving, flute. What is thought he is trying to achieve is a notion of ancient, uncomplicated in formation but unknown as to how evolved it may be, civilization judging from the picture where the director presents us with a simplistic, rock-like material, elliptical spaceship. It is a highly artistic scene with this grand, odd-shaped, standing object accompanied by the wave's visual parallelism of the clouds covering the valley.
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The background atmosphere has been built with unison octave layers of synthetic instruments that seem to be centred by an acoustic piano loop, designed with heavy processing in order to sound stretched and reversed.
Arrival - Video 1
Considering the first appearance of the alien species, simultaneously signifying the first human contact, the composer continues his minimalistic atonal approach which seems to be purposely used considering the slow pace of the visual. This music cue has a vividly hybrid and abstract nature, with high strings undefined in terms of pitch and overall tonal characteristics, creating certain dizziness to the atmosphere in its effort to describe the unknown, mysterious communication between the alien and human characters.
Arrival - Video 2
The composer finally arrives at a more static tonal point, starting building at around 02:28" in which he uses a three-note motif (I-V-VI) in a rising and fading out motion.
Action - Adventure - Comedy
- Mars Attacks! (1996 – Score by Danny Elfman)
Mars Attacks! is a film that was mentioned earlier in this research in view of its comic, cartoonish character and its distinctive, sarcastic use of the Theremin.
Specifically, in view of the aliens and the leitmotifs used, the composer Danny Elfman introduces the Theremin as his main musical tool in order to describe the mysterious, skeleton-like cartoonish Martians. The score in general, as well as the Martian’s leitmotif which follows them throughout the film, consists mostly of the classical orchestra with a few added synths as a painting touch to the overall atmosphere.
One example can be observed in the following, debut Martians’ appearance, example (00:22") as well as the use of Theremin and the score’s overall symphonic orchestra style:
Mars Attacks! - Video 1
Once again, it is worth remembering the massive popularity of the Theremin especially in the Hollywood sci-fi era of the 1950s. Two characteristic film examples that have been discussed earlier were The Day the Earth Stood Still and It Came from Outer Space.
- The Day the Earth Stood Still (1951)
(Score by Bernard Herrmann)
- It Came from Outer Space (1953)
(Score by Henry Mancini / Herman Stein / Irving Gertz)
- The Fifth Element (1997 – Score by Éric Serra)
Although reviewed earlier considering Serra’s ability to create a provoking and heavily criticised, multicoloured score, it was very interesting getting a bit into more detail in view of the alien robots’ first scene. This decision occurred by watching how the composer is dealing with the score in this specific moment as the scene is set inside an archeological site in which the alien robots land to uncover an ancient secret. This scene was also thought to be a great opportunity to compose an experimental score and discuss the results further in this research.
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The Fifth Element - Video 1
Serra is approaching the scene starting with ethereal synth choir (00:00"-00:31") progressing in minor chords describing the landing and walking of the alien robots. As it develops, and more human dramatic reactions take place, the composer adds a vivid divisi high strings motif (00:32") until the first part reaches its end for the actor’s cues to take place (01:00"). Sound designed pads, low in pitch, add to the mysterious atmosphere until 02:08" where we have again the use of a synthetic choir chord, rising gradually in dynamics, followed by the violas (02:28") and cellos (02:43") which again have been used with the same intention of adding a harmonic motif increasing in that way the sense of drama, emphasising the importance of the visual.
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In terms of ethnic elements involved and due to the visual provided appropriateness, there is no obvious tendency towards that direction although it is worth mentioning that the violas motif at 02:28" start in a Mixolydian mode which, under the overall score’s circumstances, it can be thought of as an Eastern-influenced sounding element.
Robotic - Form aliens
- Target Earth (1954 – Score by Paul Dunlap)
- Earth vs. the Flying Saucers (1956)
(Score by Mischa Bakaleinikoff)
These two films represent the overall popular aesthetic of the sci-fi genre of the 1950s. The alien robots are described in an atonal style score which is highly busy in terms of instrumentation and harmonic development with low brass notes as a dominant tool for creating gravitas followed by the symphonic high strings, quite often used in tremolo, aggregating the sense of drama.
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In the case of Target Earth, Dunlap is mostly relying in the use of the Theremin followed by the brass and woodwind instruments as demonstrated at 00:43". The score is not experimental by any means, and, as to be expected, it does not contain any strong evidence of Eastern scales and/or instruments which of course reflects the film’s location.
Target Earth - Video 1
Earth vs. the Flying Saucers - Video 1
- The Day the Earth Stood Still (2008)
(Score by Tyler Bates)
This remake of the classic sci-fi film The Day the Earth Stood Still (1951) takes on the same principle in terms of the film’s plot and general scenic location but an entirely different approach in terms of scoring, and especially in view of the alien forms.
There are totally two different kinds of alien forms in the scene, and in the film in general; the first one appears in the film’s starting moments and has an organic form as the second one, which is the dominant alien character in the movie, has the form of a gigantic robot. They are both mentioned here as they both are presented with a quite different scoring method by the composer, Tyler Bates.
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In view of the alien spaceship’s first appearance, which is presented in the form of a giant sphere, the composer introduces a highly synthetic score with an upfront character of an ethereal, high-pitched, synth choir. This has been used with the intention of creating an exceedingly mysterious atmosphere as the scene follows the amazement of human scientists approaching the alien spaceship. The music composition builds progressively its intensity and sense of the unknown as it follows closely the picture which gradually rises and finally presents the spaceship’s massive size.
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What also helps in that respect is the addition of a high-pitched rising strings' cue signifying the beginning of this visual crescendo by also having a quite interesting impact in music as it changes the tonal score’s character, up to this point, into dissonant and unsettling. These observations can be viewed in the following video:
The Day the Earth Stood Still (2008) - Video 1
In the second video example, on can observe the classical orchestra presentation in a not too aggressive and overly mysterious tone starting with a small in length A minor motif performed by the violins and violas. Additionally, the composer chooses a pure and calm solo vocal cue to musically accompany the strong white lights coming off the spaceship; the expectation of the alien’s appearance, and the contact with the human scientist.
This purity of white together with the solo vocal and overall softness of the composition suggests a peaceful atmosphere, a harmless alien form.
The Day the Earth Stood Still (2008) - Video 2
What is also very important to realise is the scene’s contradiction and how Bates manages to translate that into his score. On one side we observe an increasing tension in the diegetic world with armed forces taking place and getting ready to react to any potential hostile act. This is a dialogue crescendo that emerges fading in from the beginning of the video and reaches its climax with the alien’s gunshot at 00:53".
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On the other hand, concerning the non-diegetic world that the score belongs to, the composer is focusing purely on describing the movement and connection between the human scientist and the alien. As a result, the viewer is emotionally charged in this highly dramatic scene by using an expressive, dynamically soft, music cue while all the built-up tension has relied on the diegetic human dialogues.
After the cues’ conclusion (gunshot at 00:53"), the composer chooses to remain in the human-alien connection angle and continues developing his music idea by adding low strings at 01:00" to increase the dramatic sequence which describes the alien’s death falling into the scientist’s arms.
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Moving into the second alien which has the form of a gigantic robot, Bates is utterly changing his approach by moving into an atonal, aggressive, highly dynamic sound-designed score. This is showing the intention of ferociousness; the consequence of human hostility on the impliedly non-violent alien. High pitched sounds and strong synthetic character are the main scoring characteristics of the alien robot.
Anthropomorphic aliens
- Invaders from Mars (1953)
(Score by Raoul Kraushaar)
- Devil Girl from Mars (1954)
(Score by Edwing Astley)
Although it is an independent film, Invaders from Mars is a classic example of the 1950s as to how composers dealt with the idea of extraterrestrial humanoid creatures on Earth. The score’s neoclassical character is quite apparent throughout the film with endless short cues of strings, brass, and woodwinds enriching every scene at any given moment with an overly dramatic, and almost mickey-mousing, music character.
Invaders from Mars - Video 1
Moving away from tonal music and avoiding any apparent harmonic structure which would suggest either a major or minor chord/scale, Kraushaar is presenting the aliens from a relatively similar angle as the one found on many classic action-adventure-horror films of the decade; these films include some of the earlier discussed Target Earth, Earth vs. the Flying Saucers as well as other titles from further back on the research such as The Day the Earth Stood Still.
On the other hand, Devil Girl from Mars score although following the same path as the previous Invaders from Mars, offers some new variations which differentiate the composer and his point of view considering the humanoid alien. In view of the structure, we can now observe the construction and development of a distinctive leitmotif of the alien woman form which follows the character from the beginning of its appearance through the end of the film.
Devil Girl from Mars - Video 1
An additional aspect of this leitmotif is the use of timpani following the visual pace of the screen. The above followed by a three-note motif conversation between the brass and woodwinds together with a sense of space between performances formulates a diverse musical experience that follows a marginally dissimilar path of the one having consisted of the usually busy and harmonically fast-evolving orchestration.
Devil Girl from Mars - Video 2
- Stargate (1994 – Score by David Arnold)
Stargate was one of the films that were found to be rather interesting and worth investigating due to the fact that the film’s plot and location has a direct reference to Eastern civilizations and the connection between them and alien species. It is also relevant in terms of historical context since the visual suggests an ancient time period in which the Eastern human race is still relatively primitive, in its initial stages in terms of evolution.
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For these reasons, the film presents a perfectly pertinent opportunity to explore in terms of Eastern scoring approach, implementing Eastern-ethnic instruments and music traditions. Additionally, it serves well as an audiovisual bridge between the previous Intolerance project together with the more evolved science fiction genre; reaching for composers’ approach and compositional styles together with later-on experimenting writing an original score with Middle Eastern musical angle in mind, following the initial perspective of the entire research.
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To begin with, Arnold’s approach in describing the human form, both ancient and present, works by composing a tonally harmonic score with rich instrumentation cues using the entire music palette of a large symphonic orchestra. This can be demonstrated in the following video and particularly between 00:00" and 00:20":
Stargate - Video 1
One added note is the use of a snare drum rhythmic structure which connotes the military operation. A commonly used instrument by composers for describing the human armed forces, as found and discussed in many sci-fi films’ cases before.
After the first segment of this video follows the first appearance of the aliens’ spaceship; an obscure pyramid technologically evolved judging from its divided sections and in between lights. In this first presentation, the composer chooses to alter the harmonic tone of his composition and begin a new dissonant cue by using a drum stick performance together with low strings and brass that resonates to the initial amazement of both the viewers and the films’ human characters.
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The score moves back to its previous character as soon as the scene presents humans approaching the pyramid. Inside the pyramid, the score continues to have the same nature even when the first armed guard hits a human soldier. The only addition to that moment is a rising brass chromatic chord to emphasise the attack.
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Action scenes between soldiers and guards inside the pyramids continue to be described in a chromatic music style which is increasing its atonal character depending on the severity of the scene. Therefore, to add to the mysterious nature of some scenes considering the aliens, Arnold is introducing high pitched violins that are mostly used in both bowed and pizzicato techniques:
Stargate - Video 2
From this example we can also observe the importance of symphonic brass as this together with the high pitched strings contributes once more in increasing the dramatic atmosphere and in this particular case, they are both used to build up a dynamic crescendo cue which reflects the visual build-up resulting into the dramatic presentation of the armed alien guard.
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At this point, it is important to open a small parenthesis to this musical investigation and mention the connection between the alien guard and ancient Egyptian figures. As true archaeological findings suggest, the masks’ design which this film is presenting belong to the ancient Egyptian god Anubis. Anubis was the god of death, underworld, afterlife etc.
(Picture of the Egyptian god Anubis)
Therefore, we see the connection of the ancient god ‘Anubis’ with the hostile intentions of the films’ alien guards whose outfit includes the same jackal-headed helmet together with a combination of armoury and weapons that suggests technological advancement. These visual features also contribute to the main idea of the film's plot implying that the pyramids, hence ancient civilization and its evolution, were created by alien species.
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Overall it was found that experimentation with ethnic elements, either in terms of composition or instrumentation, was not apparent even though the visual indeed suggests that such an approach would be approvable. As a result, this gave the prospect, as mentioned at the beginning of this films’ discussion, of using this as an example of demonstrating a few points in terms of scoring originality, experimentation, and Eastern authenticity; aspects that will be discovered and presented further on in the research.
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Moving back to the film’s score, we are eventually presented with the main alien, humanoid form, character. This is quite an interesting moment in musical terms as we have the introduction of a few new features that contribute to Arnold’s scoring perspective.
Stargate - Video 4
Perhaps one of the key elements is the presentation of a specific leitmotif which corresponds to the anthropomorphic alien leader. This eleven-note leitmotif is introduced at around 00:27" by the low brass instruments and it is, after its initial presentation, being repeated and sculpted throughout the film.
Building around the leitmotif we observe the inclusion of a classical choir that is performing in short, attacking vowels and syllables irrelevant of pitch and/or harmonic structure.
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At about 01:09" we observe the commencing of a new dramatic cue as the scene changes insight and focuses on unraveling the military human character’s commands/intention of destroying, what considers to be, hostile alien enemies. This scene’s sub-set is resolute by exposing the human-made bomb. The composer chooses to manage this situation with a harmonically emotional, romantic cue which is written exclusively for the violas and violins.
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This romantic scene’s subsection ends by 01:37" where the camera focuses on the alien guards and signifies the beginning of the music cue where they gradually take off their masks and reveal their human-like faces. This reaches its end with the final revelation of their king/leader. Musicwise, Arnold turns again to his alien leader leitmotif which is continuously manipulated; by using it as a central core he builds a crescendo cue with forte brass used for reaching its climax at 01:59". What is also worth mentioning is that at exactly that point Arnold is adding a secondary violins’ motif, starting high and moving backwards in semitone progression, which also uses repeatedly in variations and in conjunction with the main aliens’ leitmotif.
- The Arrival (1996 – Score by Arthur Kempel)
The Arrival score by Arthur Kempel follows a different perspective from the previous films examined. The composer chooses a more harmonic angle which takes place in the majority of his scored scenes. The same principle applies to alien species as well.
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The first alien’s visual appearance, which progressively transforms into a human form, has been dealt with moving minor chords performed by the symphonic strings allowing for the low brass instruments to move around a thematic context which increases the scene’s dramatic atmosphere. This can be demonstrated in the following example:
'The Arrival' - Video 1
The sense of mystery and the unknown has been transported to music exclusively with the use of a classical orchestra with no apparent evidence of experimentation in terms of sound design and/or ethnic colour.
Dark City (1998 – Score by Trevor Jones)
Dark City is a quite unique case in this subcategory of alien species as it belongs to a different genre having a strong film-noir atmosphere occurring in a fantasy, mysterious world set in a human city. It's dark, almost claustrophobic, nature translates into a different perspective in terms of the film’s score and especially when concentrating on humanoid aliens. Their overly white and bold faces together with their entirely black in colour outfits and their hidden underneath the city’s surface community contribute to creating a thrilling, mysterious and dark visual experience in which the composer responds accordingly.
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As a result, and starting from the musical description of the alien’s society, one can observe Jones’ interaction with this dark picture by creating an abstract, atonal background with high pitched strings in a not so constantly moving position together with some implementation of sound designed instruments (00:44" to the end). In most cases, there are no apparent uses of specific leitmotifs other than the performance modes of instruments and the orchestration of specific scenes’ locations and characters, e.g. the aliens’ underground community.
Dark City - Video 1
In action scenes, the anthropomorphic aliens are treated with the same angle in mind, with the main difference being that the composer changes the soft mysterious atmosphere into a more dynamic and rich in terms of instrumentation.
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Most frequently Jones is using a certain synthetic percussion or drum to begin an action scene followed by an expanded symphonic score with busy orchestration to develop the scene and gradually increase its dynamic character. An example of this can be seen in the following example:
Dark City - Video 2
The music composition does not change its atonal style but is being emphasised with short, and highly dynamic in attack, brass, and strings that in turn follow the distressful running, fighting, and escaping scenes of the human protagonistic character.
5. Discussion
As an introductory statement, it is important to open a small parenthesis and by defocusing from the specific subject observe that by moving back in time, at least in Hollywood’s science fiction cinematography, film music seems to be more confined and closely attached to specific composing angles. Hence the realisation of relationships in different categories of sci-fi film genres, which suggests a common musical language, is the very same reason that in turn deforms the recognition and need for the initial classification. This was found to be a rather important finding in terms of film music progression and how different movies and composers were able to shape and form new categories of music scores through time, most often moving in parallel with the evolution of audio technology.
Considering the latter, and observing it from a chronological viewpoint, one can observe a strong connection between alien forms and the use of sound technology throughout time. Each technological breakthrough that has received the respected popularity seems to be attached in the films’ scoring structures as well. Examples include the use of the Theremin in the 1950s for adding that extra sense of the alien other, the electronic sound synthesis of the 1980s presented in the Blade Runner film and the hybrid scores of the 2010s and on, in films such as Cowboys and Aliens, Prometheus, Sputnik and Underwater.
One can also observe the overall tendency of composers in certain science fiction subcategories. Two of them were found, according to the previous categorization of film, to be the most profound examples of the above statement; action-horror and action-adventure-mystery (friendly aliens). Firstly, considering the first category, there is a dominant use of the symphonic orchestra and an overall aesthetic of a Western neoclassical composing angle. What is pre-dominantly used is the classic orchestra’s wide dynamic range in frequently used crescendos usually performed in vividly atonal harmonic structures. This of course blends agreeably with the audiovisual relationship in a science fiction horror film, when using the symphonic orchestra as the main scoring tool, as the implementation of tonal harmonies would yield results that may not fit the visual and might end up with an oxymoron result, perhaps moving dangerously towards parody.
In view of the second category (friendly aliens), the general aesthetic was exactly the opposite of the previous action-horror division. Composers in this area are using their romantic character to score motifs consisting of tonal harmonies appropriate to the visual. There were also cases found, such as the scores for Enemy Mine (Maurice Jarre) and Mission to Mars (Ennio Morricone), were composers where possibly selected because of their expertise in neoclassical romanticism. This is an aspect that will be taken into account in the next scoring chapter as it usually creates a certain bond between the viewer and the picture especially if that is accompanied with memorable themes and motifs.
Considering the latter, a rather important observation is the gradual detachment with memorable themes and motifs as we move forward in time. This is also true regardless of the category a film falls into. This can be proven by taking a look at the history of the Alien franchise. One can observe that in the first Alien film the composer, Jerry Goldsmith, is building the score around a central motif, as mentioned earlier, leaving in that way a personal trademark that is strongly attached to the film. Moving through time, although scores are following the steps of previous examples, tend to fade out the obvious representation of explicit leitmotifs.
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As we reach the present day, there seems to be the notion in composers to concentrate more in building the scores for specific moments/scenes, rather than undertaking each film as one unified entity. Yes, the composers’ personality is there, most of the time, but this seems to be vaguely misled by the inclination of writing explosively impressive and aggressive sounding scores in terms of dynamics, distortion, sound design etc. As a personal opinion, it seems that in certain cases the absence of understandable motifs and themes translates to lack of focus resulting in diminished immersion which in turns lessens the memorability of the score itself. This is particularly evident as time passes and can be found in the latest examples of films such as Tenet and Sputnik.
On the other side, there were movies like Moon where the lack of focus in leitmotifs was personally considered to be a successful fit due to the abstract nature of the film and the sense of emptiness, both scenic and psychological, that was trying to achieve. So in conclusion, it really depends on the type of film and the artistic intention of the outcome.
The way the previous statement in particular feeds the next practical work is basically the attempt to keep a balance between memorability and abstract scoring while achieving a healthy relationship between the visual, the symphonic orchestra and Eastern ethnic instruments. This, among others, will be a significant attempt particularly in the case of the film Alien vs. Predator.