The Blue Danube

Like, there's some really compelling compositions here.

The "Blue Danube" is, is famous.

The Also sprach Zarathustra, or however you say it, that's that opening fanfare.

Like, these are famous compositions that are beautiful.

um Very, very funny.

Homer floats with the chips to Blue Danube, a la Space Odyssey.

Very well done.

I seem to remember this was put in IMAX or something like that.

As in the

blue Danube Waltz.

I don't know why I thought that would clear it up for you.

As in the blue Danube Waltz.

Oh, yeah.

um yeah study there is giving up on that story of you look at you frowning what's up you've gone all grumpy since you threw a satsuma into my face

They quickly discovered she could hear the instrument better than the conversation.

So that first Nashville call included performances of Dixie and the Blue Danube Waltz.

Now, the telephone was brand new to Nashville at that time, but it was rolling out for regular use in some other cities.

And by this day, one year later, a problem had developed with the way that phone calls were connected.

It's beautiful.

You gotta go with Blue Danube Waltz, 2001.

That, that is, that is a needle drop.

Mm.

A very good afternoon, and once more it's light, bright and classical on Radio Southland's 96.4 FM.

And that was the Berlin Philharmonic Orchestra with the Blue Danube Waltz.

From Puccini's Madam Butterfly comes One Fine Day, and that is sung for us by Hayley Westenra.

One fine day you'll find me A thread of smoke rising On the sea, in the far horizon And then the ship appearing Then the trim white

And then once, yeah, once I hit college, yeah.

Like, like 2001 and just the way there was like, no talking for long periods of time and like just the power of a song and also classical music at that because like I in high school I played in the orchestra I played cello so like I was exposed to classical music but I didn't have like a very high opinion of it like as far as like the power that it could have like that and yeah like the way that Blue Danube I think is the piece that's like all throughout the beginning of 2001 like like the way that that music with the pictures was so powerful and like contextualized, they both were contextualizing each other.

I think that was like one of the first times that I really like, latched on to that aspect of movies and like, like, and I went on to work, doing music, like scoring stuff for like TV shows and stuff for many years before all this hip hop stuff.

So I think that was also kind of awakened this idea in me about music and picture going together and how powerful that can be when it's done correctly.

It's not, like, written for the movie.

It's, like, Blue Danube.

In that way, because it's classical music and there's no lyrics and there's no singer, it can still fit very well into a film score.

But it is very different from classic Hollywood use of score, where you would stay away from things that were more recognizable that might take a viewer out of the film.

The obelisk is the only constant.

We're gonna come back to it.

And then as Blue Danube plays, we see a bunch of empty shots of space, of space stations, of spacecrafts, the exteriors, and then we go to the interiors.

[classical music] And then we get our first dialogue in the movie.

Julianne remembers dancing around the living room with Kelly when she was a small child.

She would lift her into her arms and dance with her to classical music, including The Blue Danube.

Within the family, Julianne sometimes called her Silly Bean.

As one of the older children, Kelly was someone her younger siblings could turn to.