MUSICAL APPROACHES:

CROSS-CUTTING
SUMMARY:

Due to its unique needs, this is perhaps the most complicated category. Here, we
have the abrupt cutting between two or more unrelated scenes. With the
juxtaposition of opposing visuals or emotions, the music needs to provide
continuity while at the same time serving each scene dramatically.

Cross cutting, as a film editing technique, creates the illusion that multiple events are
happening simultaneously. This is not to be confused with a montage, where a series of
scenes that occur over an elapsed period of time are condensed into one sequence. In
genre pictures, cross-cutting sets in motion separate events that, like opposing trains on
the same track, will eventually collide. The magic of these moments is creating the
tension of when and how this collision will take place.

There is usually an opposition of activity and inactivity in the two parallel scenes.

1. The primary material is a clothesline, or musical glue, that will connect the
scenes together. This prevents the constant editing from becoming disjointed, and
also tells that the two or more scenes are in fact related to one another. This can
be a pedal, percussive pattern, or instrumental color.

2. Establish a scene hierarchy; primary, secondary, tertiary, etc. The primary scene
has the most meaningful dramatic activity, therefore, requiring the most intense
music.

3. Decide on the primary scene’s musical material before addressing any

secondary scenes. Your musical continuity will stem from there.

4. The material in the secondary scenes can be (a) drastically different that the
primary scene (except the clothesline), (b) somewhat different, or (c) the primary
material can play through both scenes. How you handle the opposing scenes
completely depends on the drama. Separating the scenes with separate music
keeps them dramatically further apart, but as they merge, you can merge the
material as well. If you are trying to comment on the scenes being closely
connected, then you can play through.

5. When returning to a respective scene, restate and/or develop the same

musical material. This will give the illusion that the action has been continuing
‘off-screen’ during the cross cutting. To maintain the crosscutting effect, music
from one scene should not bleed into the other. However, as the scenes get closer
 together, the music can bleed or play through to convey their proximity to one
another.

6. Don’t over-write in the secondary scene(s). Equally intense secondary music

will weaken the intentions of the cross cutting for the audience.
Simpler scene = simpler music.