In scenes like the cat-and-mouse Son of Man chase in The Thomas Crown Affair where we have a room filled with very animate bodies, Nina Simone's Sinnerman adds to the composition of all the other elements by creating a passage through which they can all flow, diffusely formless but remaining interconnected and attuned to one another. The dimensions of a space become evident. The song is allowed to integrate on a formal level with the images and on a corporeal level with the movement of the extras. John McTiernan's understanding of the kinaesthetic qualities of the recorded human body is most evident in The Thomas Crown Affair, where the discipline of his craft (the camera's all seeing eye) is realised onto a perfectly controllable canvas (the tight, punchy editing). The canvas of movies is figurative, and McTiernan knows that building a rhythm does not constitute a succession of antsy music cues or pumped-up whirligig editing. He understands that there needs to be rhythm within the frame for there to be any escalation of mood or understanding, or, for that matter, pleasure.