63 Sentences With "non diegetic" | Random Sentence Generator

Reid's mystery feels more non-diegetic than it needs to be.

You cannot have live entertainment with non-diegetic sound, but the second Orton arrived at the house, a spooky soundtrack kicked in.

Much of the Bostonian music in "City on a Hill" is non-diegetic, featuring in montage sequences at the end of episodes.

Audrey playing a song on the jukebox is diegetic; the swelling of "Laura Palmer's Theme" as the camera pans over her dead body is non-diegetic.

The film is almost wholly non-diegetic, meaning the sound and the images of Jamaica's people and landscapes are layered on top of one another, rather than synced up.

Zarchi also deliberately rejects the use of non-diegetic music in the film which gives it an almost documentary-realism feel, heightening the intensity of scenes such as Jennifer's protracted rape.

Without going full-on film studies, there's a pretty special blend of sounds throughout the film—diegetic (heard by the characters, too) and non-diegetic (just meant to be heard by us).

There is no soundtrack, no dialogue, no non-diegetic noise at all; you can hear the fire crackle, the cries of birds, a barge's horn echoing somewhere, the splash of rock on water.

Soundtrack music comes in two forms: diegetic or "source" (ie, music that is part of the setting—playing on the radio, or from a jukebox); and non-diegetic (that which is heard only by the viewer).

The film is structured like a pregnancy, with "chapters" for each trimester and for birth, and it's almost wholly non-diegetic, meaning the sound and the images of Jamaica's people and landscapes are layered on top of one another rather than synced up.

The film is structured like a pregnancy, with "chapters" for each trimester and for birth, and it's almost wholly non-diegetic, meaning the sound and the images of Jamaica's people and landscapes are layered on top of one another, rather than synced up.

The track kicks off a lively montage—it's the first non-diegetic sound we hear—and closes the film after moments of genuine pathos (a post-script about the fate of a subject; a gorgeous monologue about the limitations of life on the fringe).

For example, throughout the film a properly creepy dripping sound—supposedly blood from a man that Max keeps seeing at the subway—morphs into the non-diegetic soundtrack of Banco De Gaia's "Drippy" and suddenly sounds like the symphony of a broken, rusting tap.

For example, an insert shot that depicts something that is neither taking place in the world of the film, nor is seen, imagined, or thought by a character, is a non-diegetic insert. Titles, subtitles, and voice-over narration (with some exceptions) are also non-diegetic.

In film, diegesis refers to the story world, and the events that occur within it. Thus, non-diegesis are things which occur outside the story-world. A non- diegetic insert is a film technique that combines a shot or a series of shots cut into a sequence, showing objects represented as being outside the space of the narrative. Put more simply, a non-diegetic insert is a scene that is outside the story world which is "inserted" into the story world.

Korine's Julien Donkey-Boy features two scenes with non-diegetic music, several shot with non-handheld, hidden cameras and a non-diegetic prop. Von Trier, however, praised the film's transgressions on an interview released on the Epidemic DVD. Like the No Wave Cinema creative movement, Dogme 95 has been described as a defining period in low budget film production. Since 2002 and the 31st film, a filmmaker no longer needs to have his or her work verified by the original board to identify it as a Dogme 95 work.

"Source music" (or a "source cue") comes from an on screen source that can actually be seen or that can be inferred (in academic film theory such music is called "diegetic" music, as it emanates from the "diegesis" or "story world"). An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino's The Deer Hunter. Alfred Hitchcock's 1963 thriller The Birds is an example of a Hollywood film with no non-diegetic music whatsoever. Dogme 95 is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films.

A combination of these concepts in film sound and music is known in the industry as source scoring—a blending of diegetic source music, such as a character singing or playing an instrument, with non-diegetic dramatic scoring. There are other varying dimensions of diegesis in film sound, for example, metadiegetic sound, which are sounds imagined by a character within the film, such as memories, hallucinatory sounds, and distorted perspectives. Another notable condition of diegesis is cross-over diegesis, which is explored in the book Primeval Cinema - An Audiovisual Philosophy by Danny Hahn, in which he describes it as "blending/transforming a sound or piece of music from one spectrum of diegesis to another – from diegetic to non-diegetic space". The sci-film 2BR02B: To Be or Naught to Be is an example of cross-over diegetic music in film, with Schubert's Ave Maria playing over separate shot sequences as non-diegetic music, but then later showing it to come from a gramophone in a hospital waiting room.

This work, portraying a chance conversation between two strangers at a traffic intersection, used separate, non-diegetic sound feeds to represent the setting and the dialogue of the characters. Fiona Bowie has created several works using this template including 'deliverance' (1998), 'Phenotypes'(ongoing), Nature Morte (2005) and 'Sliphost' (2006).

The narrator presents the actions (and sometimes thoughts) of the characters to the readers or audience. Diegetic elements are part of the fictional world ("part of the story"), as opposed to non-diegetic elements which are stylistic elements of how the narrator tells the story ("part of the storytelling").

The screenplay was by Antonioni and Tonino Guerra, with English dialogue by British playwright Edward Bond. The cinematographer was Carlo di Palma. The film's non-diegetic music was scored by jazz pianist Herbie Hancock, while rock group the Yardbirds also feature. The film is set within the mod subculture of 1960s Swinging London.

Twilight Time released The Russia House on Blu-ray on July 12, 2016. The package included booklet notes by Julie Kirgo. The extras were a contemporary documentary from the film's release and an isolated score (non diegetic) and source (diegetic) music track but no commentary. The film had been released on DVD before the Blu-ray version.

Max Richter's musical composition for the episode was well-received. The Independent writers compliment Richter for "blending the diegetic sounds of the app with the non-diegetic score evoking our protagonist's struggle to determine reality and fiction", an element which Robinson also praises. Fowler calls the score "very compelling" and Monahan describes it as "elegantly elegiac".

Drawings by Queen Margrethe II of Denmark were used to illustrate the CDs. The settings were well received by critics. Much of the music in Peter Jackson's The Lord of the Rings film series is non- diegetic (not heard by the characters), so few of Tolkien's songs are performed. Aragorn sings a few lines of the "Lay of Lúthien", a cappella, in Elvish.

It reoccurs in the film during the quiet moments of the siege, becoming in effect a musical articulation of rhythm of the siege itself.Conrich; Woods, 2004, p. 55. Bishop is heard whistling the tune of this particular theme at the beginning and end of the film, making the electric piano theme "a non-diegetic realization of a diegetic source."Conrich; Woods, 2004, p. 56.

5: The Work of Director Jonathan Glazer. The video recalls imagery from the Alan Clarke-directed film "Made in Britain." The video uses a technique which Glazer would later use for the "A Song for the Lovers" video, being shot in real-time and allowing the diegetic sounds produced by objects and characters to be audible above the music. The music itself is non-diegetic.

The music for the fantasy TV series Game of Thrones is composed by Ramin Djawadi. The music is primarily non-diegetic and instrumental with the occasional vocal performances, and is created to support musically the characters and plots of the show. It features various themes, the most prominent being the "main title theme" that accompanies the series' title sequence. In every season, a soundtrack album was released.

Marc E. Moglen (2007) recreated pre- historical Soundscapes (Acoustic Ecology) at University of California, Berkeley's Department of Anthropology, combining compositional techniques with site recordings for a non-diegetic piece in the virtual world of Second Life, on "Okapi Island" . At the Center for New Media the acoustic ecological setting of the former jazz scene in Oakland, CA was developed for a virtual world setting.

Faceless has no spoken dialogue – a natural consequence of the prohibition of audio surveillance in the UK. Instead, the story is told by a voice-over narrator. The film's soundtrack is almost entirely non-diegetic, comprising electronic and industrial elements composed in 5.1 surround sound to bring depth to the flat, wide-angle CCTV images, contrasted with predominantly stereophonic solo piano recordings by Rupert Huber.

A 1981 publication on Méliès's films by the Centre national du cinéma commented that, although the ballet sequence is inadvertently comic, the rest of the film is "dramatic and expressionistic", with the dancing demons creating a "very modern" effect. The film scholar Elizabeth Ezra highlighted the descent into hell and ballet sequence as early cinematic examples of the tilt shot and the non-diegetic insert, respectively.

Rashidi made this film with no/low budget over a three months period in summer 2008. Shot in stark black and white, the film deals with images of love, friendship, separation, loneliness and isolation; a "strand" of life in modern-day Iran. The usage of Direct Cinema and cinéma vérité techniques, non- diegetic sound, Super 8mm, stock footage and heavily manipulative editing are the common stylistic styles that shapes Strand.

Sam Phillips composed the Gilmore Girls musical score. Gilmore Girls non- diegetic score was composed by singer-songwriter Sam Phillips throughout its entire run. Sherman-Palladino, who served as the music supervisor of the series, was a big fan of the musician and secured her involvement. For the score's instrumental arrangement, Phillips primarily used her voice and an acoustic guitar, and on occasion included piano, violin, and drums.

"Audrey's Dance" in "Episode 2". Audrey Horne says "God, I love this music. Isn't it too dreamy?" before dancing to the jukebox in the Double R Diner. "Audrey's Dance" is used as both diegetic music—that is, music that characters in the show can hear—as well as (non-diegetic) background music, making it one of a few songs on the Twin Peaks soundtrack that also exists within the universe of the show.

Much of the film has a similar look to von Trier's earlier Dogme 95-influenced films: it is filmed on low-end, hand-held digital cameras to create a documentary-style appearance. It is not a true Dogme 95 film, however, because the Dogme rules stipulate that violence, non-diegetic music, and period pieces are not permitted. Trier differentiates the musical sequences from the rest of the film by using static cameras and by brightening the colours.

Bishop is heard whistling the tune of this particular theme at the beginning and end of the film, making the electric piano theme "a non-diegetic realization of a diegetic source."Conrich; Woods, 2004, p. 56. Burnand and Mera have noted that "there is some attempt to show the common denominators of human behavior regardless of 'tribal' affiliations, and there is a clear attempt to represent this through simple musical devices."Conrich; Woods, 2004, p. 58.

The choice of music was crucial to the mood of each scene - it is diegetic music that the characters themselves can hear and therefore becomes an integral part of the action.Richards, Mark. 'Diegetic Music, Non-Diegetic Music, and “Source Scoring”' in Film Music Notes, 21 April 2013 George Lucas had to be realistic about the complexities of copyright clearances, though, and suggested a number of alternative tracks. Universal wanted Lucas and producer Gary Kurtz to hire an orchestra for sound-alikes.

The film score makes extensive use of classical music, both diegetic and non-diegetic. "Fanfare for the Common Man" by Aaron Copland is featured as Jimmy King's theme music. "Siegfried's Funeral March" from Götterdämmerung by German composer Richard Wagner plays quietly in the background during King's initial discomfiture at the hands of Titus Sinclair, played by Joe Pantoliano, and Diamond Dallas Page. A soundtrack for the film was released by Atlantic Records and 143 Records in both 'clean' and 'explicit' editions.

The following episode would be viewed by of the available audience, representing a further drop in numbers. Writing for The A.V. Club, Keith Phipps awarded the episode an "A−" rating. He felt that the scene showing Leo Johnson domestically abusing his wife was "among the show's most disturbing moments", comparing it to a scene from the 1990 film The Grifters. Phipps also felt the sound design in the episode was impressive, commenting positively on the blurred distinction between diegetic and non-diegetic music.

In musical theatre, as in film, the term "diegesis" refers to the context of a musical number in a work's theatrical narrative. In typical operas or operettas, musical numbers are non-diegetic; characters are not singing in a manner that they would do in a naturalistic setting; in a sense, they are not "aware" that they are in a musical. In contrast, when a song occurs literally in the plot, the number is considered diegetic. Diegetic numbers are often present in backstage musicals.

This includes the prologue, with a "discordant" score accompanied by dripping and a ringing telephone. In the scene where Elisabet meets Alma in her bedroom, foghorns accompany Werle's music. Musicologist Alexis Luko described the score as conveying "semantic meaning" with diabolus in musica ("the devil in music"), a common style in horror cinema. The addition of a foghorn indicates a meeting of "diegetic and non-diegetic", complementing the breaking of the fourth wall when Alma and Elisabet look at the audience.

It takes some of the onus off what they're asking for." Disney and Pixar reached a compromise: the characters in Toy Story would not break into song, but the film would use non- diegetic songs over the action, as in The Graduate, to convey and amplify the emotions that Buzz and Woody were feeling. Disney and Lasseter tapped Randy Newman to compose the film. On Newman, Lasseter said, "His songs are touching, witty, and satirical, and he would deliver the emotional underpinning for every scene.

The music also becomes diegetic with the assistance of audio engineering techniques, having its reverberation undergo change to match the room's characteristics and indicate a spatial location from the surround speakers. Even though Ave Maria reappears extensively as diegetic music, its inclusion was treated as non-diegetic by the film-makers, the song being a bespoke recording by soprano Imogen Coward to match the film's tone, and the film being edited to her recording. The recording itself was timed to include a layer of narrative commentary for audiences familiar with the German lyrics.

The musical score was composed by Ennio Morricone, who had previously collaborated with director Leone on A Fistful of Dollars. Under Leone's explicit direction, Morricone began writing the score before production had started, as Leone often shot to the music on set. The music is notable for its blend of diegetic and non-diegetic moments through a recurring motif that originates from the identical pocket watches belonging to El Indio and Colonel Mortimer. "The music that the watch makes transfers your thought to a different place," said Morricone.

Each episode of the show features a number of songs from various artists in addition to an original score. The music is usually used as a background element and is non- diegetic, although occasionally the music comes from a diegetic source. In the second-season episode "Where There's a Will, There's a Wave" Christy Carlson Romano stars as a fictional pop star and performs her song "Dive In". Other artists heard in the show include The Beach Boys, The Penguins, Howie Day, John Mayer, Ryan Adams, Blink-182, Maroon 5, and Lifehouse.

The work also includes stylistically adventurous techniques, including the shooting of long shots through mirrors (again developing from work in L'amour fou), short cuts to black to punctuate otherwise continuous scenes, short cutaways to unrelated or seemingly meaningless shots, non-diegetic sound blocking out crucial parts of the dialogue, and even a conversation in which selected lines are re-edited so that they appear to be spoken backward. However, these experiments form a fairly small part of the work as a whole, which is generally conventional in style (aside from the length of takes and of the work as a whole).

The film's soundtrack is notable for featuring numerous excerpts from Nino Rota's score for the Federico Fellini film 8½, itself a self-reflexive work about the making of a film. Other non- diegetic musical references are made to Amarcord, The Draughtsman's Contract, Smiles of a Summer Night, Fanny and Alexander and Barry Lyndon. Michael Nyman, composer of The Draughtsman's Contract provides a new arrangement of the Handel Sarabande featured in the latter film, while the tracks of The Draughtsman's Contract (the original soundtrack recordings, the score has been re-recorded numerous times) serve as a temp track to film of the Sterne material.

In the comics, her chosen name (according to X-Treme X-Men #31) is Anna Raven when her powers are inactive (Raven Darkholme is Mystique's name). In X-Men #24 she tries to reveal it to Gambit on a date, but he stops her. Her profile in the X-Men 2005 issue of the Official Handbook of the Marvel Universe lists her real name as Anna Marie. Chris Claremont has also used the name "Anna- Marie Raven" in reference to Rogue in non-diegetic establishing text in X-Men Forever,X-Men Forever Alpha (May 2009).

The setting of BioShock 2 ten years after the first game established the sonic atmopshere. "I really wanted the ambience to sell the fact that Rapture was constantly falling apart around the player", Kamper recalled. In addition to lots of creaking and groaning sounds to accentuate the setting's disrepair, Kamper and the audio team added non-diegetic sounds that grow in frequency the closer the player gets to the end of the game to convey the mounting insanity of the Splicers. The Big Sister's sound effects were created by layering sounds from birds, hyenas, and Kamper's wife doing impressions of a dolphin.

Gamemastering, sometimes referred to as Orchestration, is used in pervasive games to guide players along a trajectory desired by the game author. To ensure proper gamemastering can take place, four components are needed: some kind of sensory system to the game allowing the game masters to know current events, providing dynamic game information; dynamic and static game information lets game masters make informed decisions; decisions need to be actuated into the game, either through the game system or through manual intervention; and finally a communication structure is needed for both diegetic or non-diegetic communication. Effective gamemastering can require specialized user interfaces that are highly game specific.

A man recording a voice-over Voice-over (also known as off-camera or off-stage commentary) is a production technique where a voice—that is not part of the narrative (non-diegetic)—is used in a radio, television production, filmmaking, theatre, or other presentations.Merriam Webster's Online Dictionary The voice-over is read from a script and may be spoken by someone who appears elsewhere in the production or by a specialist voice talent. Synchronous dialogue, where the voice-over is narrating the action that is taking place at the same time, remains the most common technique in voice- overs. Asynchronous, however, is also used in cinema.

Howard Shore composed "The Valley of Imladris" - a diegetic piece for lute, lyre, wood flute and harp that is performed in Rivendell, a recapitulation of a piece of music introduced in the underscore previously as Elrond rides into Rivendell to meet the Dwarves. Shore also composed the horn-call at the end of Battle of the Five Armies, which is in fact a statement of the Erebor theme. Other sound effects used in Mirkwood and the Treasure Hoard scene, while non-diegetic, were performed by the orchestra and feature on the album.The sound effects of the Treasure Hoard utilize a Gamelan Orchestra, Tibetan Singing Bowls, Shakuhachi, Gongs and a Tanpura, echoing the rattling jewels.

For example, in The Sound of Music, the song "Edelweiss" is diegetic, since the character (Captain von Trapp) is performing the piece in front of other fictional characters at a gathering. In "Do-Re-Mi" the character Maria is using the song to teach the children how to sing, so this song is also diegetic. In contrast, the song "How Do You Solve A Problem Like Maria?" is non-diegetic, since the musical material is external to the narrative, it being a conversation that would in a naturalistic setting take place as simple speech. In both the 1936 and the 1951 film versions of Show Boat, as well as in the original stage version, the song "Bill" is diegetic.

The cantina band sequence in the original Star Wars is an example of diegetic music in film, with the band playing instruments and swaying to the beat, as patrons are heard reacting to the second piece the band plays. By contrast, the background music that cannot be heard by the characters in the movie is termed non- diegetic or extradiegetic. An example of this is in Rocky, where Bill Conti's "Gonna Fly Now" plays non-diegetically as Rocky makes his way through his training regimen finishing on the top steps of the Philadelphia Museum of Art with his hands raised in the air. Songs are commonly used in various film sequences to serve different purposes.

Hannah Pittard wrote in a review in The New York Times that she felt the novel's "bait-and-switch tactic"—interspacing the Jake-and-girlfriend narrative with a commentary between two strangers about an unspecified tragedy—too "gimmicky". She also felt that Reid's story was a little too non- diegetic, in that the narrator withholds too much from the reader. Pittard expressed her disappointment at the book's "big reveal" at the end, saying that it "hastily disposes of unexplained and unnecessary red herrings, and the revelation is at once too tidy and too convenient to be satisfying". Writing in The Australian, author Pip Smith said the novel "reads like a short story with its elastic stretched to snapping point".

Life Just Is features no original score and no non- diegetic music on its soundtrack, instead containing only music listened to by the characters themselves. In addition to the tracks featured in the film, there are also several moments when the characters sing songs. In one scene, the character David performs "Geordie in Wonderland" by The Wildhearts, and two of the other songs he sings are originally by bands featuring ex- Wildhearts members: "Lemonade Girl" by The Jellys and "Moving Along" by Plan A. In November 2011, the complete soundtrack listing was unveiled on the film's blog, revealing that the film also features songs by Emma McGlynn, The Lustjunks, The Heart Strings, Deckard, Nate Seacourt, The High Wire and Animal Kingdom.

This is why, in the cinema, we may refer to the film's diegetic world. "Diegetic", in the cinema, typically refers to the internal world created by the story that the characters themselves experience and encounter: the narrative "space" that includes all the parts of the story, both those that are and those that are not actually shown on the screen (such as events that have led up to the present action; people who are being talked about; or events that are presumed to have happened elsewhere or at a different time). Thus, elements of a film can be "diegetic" or "non-diegetic". These terms are most commonly used in reference to sound in a film, but can apply to other elements.

When Julie, Queenie, and the black chorus sing the second chorus of the song in the 1936 version, they are presumably unaware of any orchestral accompaniment, but in the 1951 film, when Magnolia sings and dances this same chorus, she does so to the accompaniment of two deckhands on the boat playing a banjo and a harmonica. Two other songs in the 1936 Show Boat are also diegetic: "Goodbye My Lady Love" (sung by the comic dancers Ellie and Frank), and "After the Ball", sung by Magnolia. Both are interpolated into the film, and both are performed in the same nightclub in which Julie sings Bill. In the television series Buffy the Vampire Slayer, the episode entitled "Once More, with Feeling" toys with the distinction between diegetic and non-diegetic musical numbers.

Blue Lips is a 2018 short film co-produced, co-written and starring Swedish singer-songwriter Tove Lo. The film was released on YouTube and Vevo on 19 October 2018, and features ten songs, nine from Lo's third studio album, Blue Lips (2017), and one from her second studio album, Lady Wood (2016). It was directed and written by Malia James with Lo working on the screenplay as well while Nathan Scherrer and Laura Haber served as executive producers. Unlike Fairy Dust, one of Lo's previous short films, Blue Lips featured parts of the songs instead of using them completely, also it mixes a diegetic and non- diegetic use of the songs. The film centers around friends Ebba (played by Lo) and Kit (played by Ana Coto) as they party after the latter suffers a heartbreak.

The topos of the wandering Jew is used several times throughout the movie. In the opening scene of the film a non-diegetic Yiddish song about the “interminable Jewish wanderings” is heard and complemented by Pinya's muttering: “Here we are traveling, and traveling / Maybe we'll never get there....” Senderovich concludes: “The family's journey is supposedly intended to put an end both to the eternal Jewish displacement and to unproductive Jewish existence represented by Pinya.”Senderovich p281 The motif of the wandering Jew and his characterization as a lutftmensch (“man of air”) who works with his head instead of his hands are merged in Pinya's figure. But both are not represented as natural features, but as a particular habitus based on the socio-economical living conditions of Jews before the revolution. As Pinya says at the end of the movie: “We never had enough bread.

" As regards Las Hurdes, critics have often remarked on the "nagging inappropriateness" of the score, the fourth movement of Johannes Brahms' Symphony No. 4 in E Minor, a practice called by James Clifford "fortuitous or ironic collage." Although Buñuel's use of this technique declined in frequency over the years, he still occasionally employed incongruous musical juxtaposition for ironic effect, notably during the opening and the climactic scenes of Viridiana, which take place to the strains of Handel's Hallelujah Chorus, in pointed contrast to the jazz music played during the film's final scene of the card game. Late in life, Buñuel claimed to dislike non-diegetic music (music not intrinsic to the scene itself) and avoided its use, stating: "In my last films I rarely use music. If I do, it has to be justified, so the viewer can see its source: a gramophone or a piano.

Film narrative does not have the luxury of having a textual narrator that guides its audience towards a formative narrative; nor does it have the ability to allow its audience to visually manifest the contents of its narrative in a unique fashion like literature does. Instead, film narratives utilize visual and auditory devices in substitution for a narrative subject; these devices include cinematography, editing, sound design (both diegetic and non-diegetic sound), as well as the arrangement and decisions on how and where the subjects are located onscreen—known as mise-en- scène. These cinematic devices, among others, contribute to the unique blend of visual and auditory storytelling that culminates to what Jose Landa refers to as a "visual narrative instance". And unlike narratives found in other performance arts such as plays and musicals, film narratives are not bound to a specific place and time, and are not limited by scene transitions in plays, which are restricted by set design and allotted time.

This allowed them to be shot without a locked off camera at more convenient points in the production schedule, when Carter was already in the appropriate costume. The slow motion aspect of the sequence was dropped, and Wonder Woman was no longer left holding her Diana Prince clothes. A thunderclap sound effect accompanied the explosion effect; both the explosion flash and its sound are apparently non- diegetic (only heard by the audience, not within the narrative world), as demonstrated by Diana changing unnoticed in a dormitory of sleeping women, in adjoining office spaces, etc. Generally the audience never sees Wonder Woman change back to Diana Prince, although there is one occasion when it is almost shown: Wonder Woman reveals her secret identity to her little sister Drusilla by slowly turning on the spot, but the actual moment of transformation is masked by a cut-away reaction shot of Drusilla (no thunderclap was heard).

An arrangement of Bob Dylan's "All Along the Watchtower" features prominently in the third season track "A Distant Sadness", and specially the season finale episodes "Crossroads, Parts 1 and 2", in the tracks "Heeding the Call", and the penultimate "All Along the Watchtower". McCreary's arrangement utilizes the electric sitar, harmonium, duduk, fretless bass, yayli tanbur, electric violin and zurna, and features McCreary's brother Brendan "Bt4" McCreary and former Oingo Boingo guitarist Steve Bartek. The song haunts the characters Saul Tigh, Galen Tyrol, Samuel Anders, and Tory Foster throughout the two parts of "Crossroads" and plays over the final scenes of "Crossroads, Part 2": like "Metamorphosis One", it is one of the few pieces of music in the remade Battlestar Galactica that is both diegetic and non-diegetic. Variations of the theme can also be heard by Saul Tigh in "He That Believeth In Me", the four of the final cylons revealed thus far in "Revelations", and Samuel Anders (who remembers playing the song on guitar) in "Sometimes A Great Notion" .