Editing Mulholland Drive (film) (section)

==Soundtrack==
{{quote box|width=30%|align=right|bgcolor=#c6dbf7|quote=The album progresses much like a typical Lynch film, opening with a quick, pleasant Jitterbug and then slowly delving into darker string passages, the twangy guitar sounds of '50s diner music and, finally, the layered, disturbing, often confusing underbelly of the score.|source=Neil Shurley, 2002<ref>{{cite journal|last=Shurley |first=Neil |date=6 January 2002 |url=http://www.filmscoremonthly.com/daily/article.cfm?articleID=3690 |title=CD reviews: Mulholland Drive |journal=Film Score Daily |access-date=19 August 2012 |url-status=live |archive-url=https://web.archive.org/web/20120301215424/http://www.filmscoremonthly.com/daily/article.cfm?articleID=3690 |archive-date=March 1, 2012}}</ref>}}

The soundtrack of ''Mulholland Drive'' was supervised by [[Angelo Badalamenti]], who collaborated on previous Lynch projects ''Blue Velvet'' and ''Twin Peaks''.<ref name="jolin">{{cite journal |last=Jolin |first=Dan |date=February 2002 |title=Angelo Badalamenti |journal=Total Film |issue=61 |page=113}}</ref> Badalamenti, who was nominated for awards from the [[American Film Institute]] (AFI) and the [[British Academy of Film and Television Arts]] (BAFTA) for his work on the film,<ref name="afi">{{cite web |url=http://www.afi.com/tvevents/afiawards01/mpawards.aspx |title=AFI AWARDS 2001: Movies of the Year |publisher=[[American Film Institute|afi.com]] |archive-url=https://web.archive.org/web/20110605093838/http://www.afi.com/tvevents/afiawards01/mpawards.aspx |archive-date=June 5, 2011 |access-date=August 19, 2012}}</ref><ref name="bafta">{{cite web|url=http://www.bafta.org/search.html?q=angelo%20badalamenti&w=true |title=The 2001 Anthony Asquith Award for the achievement in Film Music - Search Results for Badalamenti|publisher=[[British Academy of Film and Television Arts]] (BAFTA) |access-date=August 19, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120320102220/http://www.bafta.org/search.html?q=angelo%20badalamenti&w=true |archive-date=March 20, 2012}}</ref> also has a cameo as an espresso aficionado and mobster.

Reviewers noted that Badalamenti's ominous score, described as his "darkest yet",<ref name="Norelli">{{cite journal |last=Norelli |first=Clare Nina |year=2009 |title=Suburban Dread: The music of Angelo Badalamenti in the films of David Lynch |journal=Sound Scripts |issue=2 |page=41}}</ref> contributes to the sense of mystery as the film opens on the dark-haired woman's limousine,{{sfn|McGowan|2007|p=197}} that contrasts with the bright, hopeful tones of Betty's first arrival in Los Angeles,<ref name="jolin" /> with the score "acting as an emotional guide for the viewer".<ref name="Norelli" /> Film music journalist Daniel Schweiger remarks that Badalamenti's contribution to the score alternates from the "nearly motionless string dread to noir jazz and [[audio feedback]]", with "the rhythms building to an explosion of infinite darkness."<ref name="Schweiger">{{cite journal|last=Schweiger |first=Daniel |date=September 2001 |url=http://www.filmscoremonthly.com/daily/article.cfm?articleID=3498 |title=The Mad Man and His Muse |journal=Film Score |access-date=August 19, 2012 |url-status=live |archive-url=https://web.archive.org/web/20120301215509/http://www.filmscoremonthly.com/daily/article.cfm?articleID=3498 |archive-date=March 1, 2012}}</ref> Badalamenti described a particular technique of sound design applied to the film, by which he would provide Lynch with multiple ten- to twelve-minute tracks at slow tempo, that they called "firewood",<ref name="Schweiger" /> from which Lynch "would take fragments and experiment with them resulting in a lot of film's eerie soundscapes."<ref name="Norelli" />

Lynch uses two pop songs from the 1960s directly after one another, playing as two actresses are auditioning by [[lip sync]]hing them. According to an analyst of music used in Lynch films, Lynch's female characters are often unable to communicate through normal channels and are reduced to lip-synching or being otherwise stifled.<ref name="mazullo">{{cite journal |last=Mazullo |first=Mark |date=Winter 2005 |title=Remembering Pop: David Lynch and the Sound of the '60s |journal=American Music |issue=23 |volume=4 |pages=493–513 |doi=10.2307/4153071|jstor=4153071 }}</ref> [[Connie Stevens]]'s "[[Sixteen Reasons]]" is the song being sung while the camera pans backwards to reveal several illusions, and [[Linda Scott]]'s version of "[[I've Told Ev'ry Little Star]]" is the audition for the first Camilla Rhodes, that film scholar Eric Gans considers a song of empowerment for Betty.<ref name="gans">{{cite web |url=http://www.anthropoetics.ucla.edu/views/vw269.htm |title=Chronicles of Love & Resentment CCLXIX |last=Gans |first=Eric |date=August 31, 2002 |work=anthropoetics.ucla.edu |access-date=August 19, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120313125129/http://www.anthropoetics.ucla.edu/views/vw269.htm |archive-date=March 13, 2012}}</ref> Originally written by [[Jerome Kern]] as a duet, sung by Linda Scott in this rendition by herself, Gans suggests it takes on a homosexual overtone in ''Mulholland Drive''.<ref name="gans" /> Unlike "Sixteen Reasons", however, portions of "I've Told Ev'ry Little Star" are distorted to suggest "a sonic split-identity" for Camilla.<ref name="mazullo"/> When the song plays, Betty has just entered the sound stage where Adam is auditioning actresses for his film, and she sees Adam, locks eyes with him and abruptly flees after Adam has declared "This is the girl" about Camilla, thereby avoiding his inevitable rejection.

[[File:Rebekah Del Rio Llorando.jpg|thumb|left|[[Rebekah Del Rio]] performing "Llorando", popularized in the film's Club Silencio sequence]]
At the hinge of the film is a scene in an unusual late night theater called Club Silencio where a performer announces "''No hay banda'' (there is no band)&nbsp;... but yet we hear a band", variated between English, Spanish and French. Described as "the most original and stunning sequence in an original and stunning film",<ref name="nochimson" /> [[Rebekah Del Rio]]'s Spanish [[a cappella]] rendition of "[[Crying (Roy Orbison song)|Crying]]", named "Llorando", is praised as "show-stopping&nbsp;... except that there's no show to stop" in the sparsely attended Club Silencio.<ref name="taubin" /> Lynch wanted to use [[Roy Orbison]]'s version of "Crying" in ''Blue Velvet'', but changed his mind when he heard Orbison's "[[In Dreams (Roy Orbison song)|In Dreams]]".<ref name="macaulay" /> Del Rio, who popularized the Spanish version and who received her first recording contract on the basis of the song, stated that Lynch flew to [[Nashville]] where she was living, and she sang the song for him once and did not know he was recording her. Lynch wrote a part for her in the film and used the version she sang for him in Nashville.<ref>{{cite web|url=http://www.rebekahdelrio.com/llorando.html |title=Rebekah Del Rio – The story behind Llorando |last=Del Rio |first=Rebekah |publisher=rebekahdelrio.com |access-date=August 19, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120914201524/http://www.rebekahdelrio.com/llorando.html |archive-date=September 14, 2012}}</ref> The song tragically serenades the lovers Betty and Rita, who sit spellbound and weeping, moments before their relationship disappears and is replaced by Diane and Camilla's dysfunction. According to one film scholar, the song and the entire theater scene marks the disintegration of Betty's and Rita's personalities, as well as their relationship.<ref name="nochimson" /> With the use of multiple languages and a song to portray such primal emotions, one film analyst states that Lynch exhibits his distrust of intellectual discourse and chooses to make sense through images and sounds.<ref name="hudson" /> The disorienting effect of the music playing although del Rio is no longer there is described as "the musical version of [[René Magritte|Magritte]]'s painting ''[[The Treachery of Images|Ceci n'est pas une pipe]]''".{{sfn|Odell|Le Blanc|2007|p=162}}