 Lester 's fantasies are emphasized by slow- and repetitive @-@ motion shots ; Mendes uses double @-@ and @-@ triple cutbacks in several sequences , and the score alters to make the audience aware that it is entering a fantasy . One example is the gymnasium scene — Lester 's first encounter with Angela . While the cheerleaders perform their half @-@ time routine to " On Broadway " , Lester becomes increasingly fixated on Angela . Time slows to represent his " voyeuristic hypnosis " and Lester begins to fantasize that Angela 's performance is for him alone . " On Broadway " — which provides a conventional underscore to the onscreen action — is replaced by discordant , percussive music that lacks melody or progression . This nondiegetic score is important to creating the narrative stasis in the sequence ; it conveys a moment for Lester that is stretched to an indeterminate length . The effect is one that Stan Link likens to " vertical time " , described by the composer and music theorist Jonathan Kramer as music that imparts " a single present stretched out into an enormous duration , a potentially infinite ' now ' that nonetheless feels like an instant " . The music is used like a visual cue , so that Lester and the score are staring at Angela . The sequence ends with the sudden reintroduction of " On Broadway " and teleological time . 
 Lester <a href='null_genetive' title='1'><mark>'s</mark></a>fantasies are emphasized by slow- and repetitive @-@ motion shots ; Mendes <a href='uninflect' title='2'><mark>uses</mark></a> double @-@ and @-@ triple cutbacks in several sequences , and the score alters to make the audience aware that it is entering a fantasy . One example <a href='drop_aux' title='3'><mark>is</mark></a>the gymnasium scene — Lester <a href='null_genetive' title='4'><mark>'s</mark></a>first encounter with Angela . While the cheerleaders perform their half @-@ time routine to " On Broadway " , Lester <a href='uninflect' title='5'><mark>becomes</mark></a> increasingly fixated on Angela . Time <a href='uninflect' title='6'><mark>slows</mark></a> to represent his " voyeuristic hypnosis " and Lester <a href='uninflect' title='7'><mark>begins</mark></a> to fantasize that Angela <a href='null_genetive' title='8'><mark>'s</mark></a>performance is for him alone . " On Broadway " — which <a href='uninflect' title='9'><mark>provides</mark></a> a conventional underscore to the onscreen action — is replaced by discordant , percussive music <a href='null_relcl' title='10'><mark>that</mark></a><a href='uninflect' title='11'><mark>lacks</mark></a> melody or progression . This nondiegetic score is important to creating the narrative stasis in the sequence ; it <a href='uninflect' title='12'><mark>conveys</mark></a> a moment for Lester <a href='null_relcl' title='13'><mark>that</mark></a>is stretched to an indeterminate length . The effect <a href='drop_aux' title='14'><mark>is</mark></a>one <a href='null_relcl' title='15'><mark>that</mark></a>Stan Link <a href='uninflect' title='16'><mark>likens</mark></a> to " vertical time " , described by the composer and music theorist Jonathan Kramer as music <a href='null_relcl' title='17'><mark>that</mark></a><a href='uninflect' title='18'><mark>imparts</mark></a> " a single present stretched out into an enormous duration , a potentially infinite ' now ' <a href='null_relcl' title='19'><mark>that</mark></a>nonetheless <a href='uninflect' title='20'><mark>feels</mark></a> like an instant " . The music is used like a visual cue , so that Lester and the score are staring at Angela . The sequence <a href='uninflect' title='21'><mark>ends</mark></a> with the sudden reintroduction of " On Broadway " and teleological time . 
Lester  fantasies are emphasized by slow- and repetitive @-@ motion shots ; Mendes use double @-@ and @-@ triple cutbacks in several sequences , and the score alters to make the audience aware that it is entering a fantasy . One example the gymnasium scene — Lester  first encounter with Angela . While the cheerleaders perform their half @-@ time routine to " On Broadway " , Lester become increasingly fixated on Angela . Time slow to represent his " voyeuristic hypnosis " and Lester begin to fantasize that Angela  performance is for him alone . " On Broadway " — which provide a conventional underscore to da onscreen action — is replaced by discordant , percussive music lack melody or progression . This nondiegetic score is important to creating tdanarrative stasis in the sequence ; it convey a moment fir Lester is stretched to an indeterminate length . The effect one Stan Link liken to " vertical time " , described by the composer and music theorist Jonathan Kramer as music impart " a single present stretched out into an enormous duration , a potentially infinite ' now ' nonetheless feel like an instant " . Thdausic is used like a visual cue , so dat Lester and the score are starin at Angela . The sequence end w the sudden reintroduction of " On Broadway " and teleological time .