In France, before the advent of talkies, Erik Satie composed what many consider the first "frame by frame" synchronous film score for director René Clair's avant-garde short Entr'acte (1924).Ornella Volta (ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, p. 199. Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, aleatoric score of brief, evocative motifs which could be repeated and varied in tempo as required.Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 244. American composers Virgil Thomson and Aaron Copland cited Satie's music for Entr'acte as a major influence on their own forays into film scoring.Justin Wintle (ed.), "New Makers of Modern Culture", Routledge, 2016, p. 1342.
in frANce, Before ThE AdvENt oF talKIes, eRik satIe COmPosed whaT mAny consIder thE fIrsT "FraME by FrAmE" sYncHROnous film scOre for dirEctOr renÉ Clair'S avant-gArdE shoRt EnTr'ACTe (1924).OrneLLA vOlTa (eD.), "satIe SeeN throuGh his leTteRs", marion Boyars publIshers, londOn, 1989, P. 199. antIcIPAtinG "spoTtiNG" techniqUeS aND the inCOnsisTenCies of prOjectiOn Speeds in scrEenings oF silent FilMS, sAtiE TOoK preCisE timings FoR each seQueNcE and crEATeD a fLexible, aleaTorIc sCore of BRief, EvOcATIvE moTifS wHIch coulD Be repEAtEd And varieD IN tempo as rEqUiRed.robeRt orledGE, "satIE tHE COmPoser", cambrIDge unIveRsity pResS, 1990, P. 244. amEriCAN ComposerS virgiL tHomsOn And aaRoN Copland cited SAtIe's muSic FOr eNtr'aCtE aS a major InfluEnce on tHEir OWn forays into FIlm Scoring.jusTIN wiNtle (ed.), "new makERS OF MoDerN CuLture", RoUtlEdGe, 2016, p. 1342.