The document analyzes a sequence in the film La La Land that depicts an idealized, fantastical version of the main characters' relationship. It shows them instantly falling in love and facing no problems as the world revolves around their romance. The sequence uses exaggerated settings, costumes, and dancing reminiscent of classic Hollywood musicals. Throughout, the music is synchronized with the original film's score but adapted to match the alternative narrative. This romanticized version aims to sweep the audience away and portray an unrealistic but joyous depiction of love, unlike the realistic story otherwise portrayed in the film.

1. La La Land Notes

2. The transition between Seb playing piano in the jazz
club to him playing it in the restaurant shows that the
next sequence is about to be fantastical and almost a
dream sequence. The idea that this sequence is a “what
if” begins at the first meeting of the main characters, and
from here onwards we see a portrayal of how their story
could’ve gone.

3. The sequence deviates from the story by
showing them kiss upon first meeting- the
spinning camera work helping to create a
feeling of being swept away and them being
perfect for eachother (very reflective of the
classic romantic musical) .
As soon as they kiss, the music kicks up into a waltz (traditional romantic music, seen most in the 50s). This
also helps portray a fairytale-like romance, not aspiring to be realistic like the rest of the film. This could be
applied to the theory that the audience is passive and can be controlled by the music.

4. The music changes tempo to
become faster, and the people
around them click their fingers in
beat to the music. Not only does this
create a sound synchronicity but
helps the audience engage more
with the music.
The previously stingy character as Seb’s old boss becomes part of the song, also clicking along. Reinforcing
the idea that nothing can really go wrong for the two in this version events. Everything is romanticised and
the word revolves around them and their love, rather than halting it. The same happens with John Legend’s
character later on, he simply elects to leave them alone.

5. The scenes flow quickly from one another, showing the passage of time and that the
two characters are avoiding all the problems they faced in the original story. The
setting changes to a painted, idealised version of the streets we see in the narrative.
The setting and costumes are exaggerated as is the dancing, reflecting more of a
‘singing in the rain’ era musical.

6. The music throughout this sequence is synchronized with that of the narrative of the original musical, often
used in different ways or under different contexts. The motif of love in the waltz reflects that of the original, the
rest of the sequence is in chronological order musically. Starting with a sped up version of the music from the
opening, with ‘another day of sun’. It shares the themes of the opening sequence, a large ensemble that
appear to be “in on” the music- an unrealistic situation made seem joyous, much like the “first meeting” of the
characters.
Then, when showing Mia’s success in her one woman show, we hear a instrumental of “someone in the
crowd” which is genius. In the original narrative, the song was sung when Mia was attempting to make
connections in order to get more opportunities. In this version, the “someone in the crowd” is quite literally a
casting director sat in the crowd of her show- eventually offering her a casting call and “lifting her off the
ground” as predicted by the song.
The rest of the sequence is made up of instrumentals and alternate versions of music already heard,
solidifying that the story is still the same, the outcomes are just different. The music is alternate, as is the
narrative.
This can be interpreted as a subliminal way to convince the audience into feeling a certain way- major chords
during “someone in the crowd” create a optimistic atmosphere, the minor chords when the two get separated
by the casting director create a sad atmosphere.