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MONTAGNE: Would you mind - you were telling us what the composer, Hans Zimmer, was asking you to do while you were doing this for the film - would you mind if we took, spent just a little time and I sort of threw out a handful of… So sometimes it's not necessarily that I would feel sadness, but I would think how does my voice sound in order to make somebody feel sadness. Because you want the singer to make you cry, not to be sitting there and watching somebody cry. PLITMAN: You know, they always say that the singer that cries on stage -nobody wants to listen to. But they would say, we need it a little more melancholy. And so, that's a very complicated little word because music is so abstract. PLITMAN: And they would say it's too happy. PLITMAN: Yes, and a lot of times, I remember, I would get the music and then I would just sing. Sometimes it was a bit problematic because I would get distracted by the film, and just kind of be looking at it, and then realize, oh, I should be singing right there. PLITMAN: Well they would actually bring a computer monitor, and they had subtitles. How did they manage to show you scenes from the film? MONTAGNE: Just to give us a sense of what was going on. I would make, boo-hee-uuuu-eee-uuuu, and somewhere in the distance maybe it would sound somewhat like Latin. You would take something like dominos bo biscum? MONTAGNE: Well I was just floating up from my childhood catechism Latin. Sometimes it gives you too many boundaries if you already have a text, or it inhibits what you might actually do.īut it's funny about language, isn't it? Because very few people will actually understand real Latin anyway. MONTAGNE: It was almost, you know, like, one of those, like, fake languages. For instance, I would say, crrrrr, the combination of consonants that was too harsh, like, crucifixes, and he needed it to be delicate, then I would have to modify it hru-hee-hwee-hooo, or something like that. In this particular score, Hans Zimmer, the composer - he asked me to make kind of a false sense of Latin at times. MONTAGNE: In this case, though, much of what you were required to sing, didn't require words. HILA PLITMAN (Singer): The feminine voice symbolizes secret feminine power, and when it comes in, its in places where that power is revealed, or even just insinuated. In fact, she watched those scenes while singing the music that would accompany them.
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She's performed around the world.Īlthough she hasn't read the Da Vinci Code, she did see scenes from the movie. She's a classically trained singer, born in Israel. MONTAGNE: She has the look fine features set off by waving, golden hair. It is entirely possible to imagine Hila Plitman as a celestial being gazing down from a painted ceiling. She lives, conveniently, in the City of Angels - which is where she joined Renee Montagne. INSKEEP: To find out what it takes to sound celestial, we tracked down Hila Plitman(ph), who sings in many of the scenes in the Da Vinci Code. (Soundbite of music from The Lord of the Rings) INSKEEP: And now, here comes a whole army of voices in Lord of the Rings. (Soundbite of music from the movie, Batman) INSKEEP: And here they are, a slightly different feel here in Batman. (Soundbite of music from the movie, Braveheart).
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You will hear those same eerie voices in the film Braveheart. They inhabit almost any scene where you're supposed to feel awed, or inspired, or just creeped out. INSKEEP: Celestial voices like these seem to appear on all kinds of film soundtracks. (Soundbite of music from the movie, the Da Vinci Code) No matter what you thought about what you saw, there's no escaping what you heard. So, maybe you ignored the bad reviews, and went to see The Da Vinci Code over the weekend.