Abstract
The author of this paper suggests a new concept of perception of the film «sound space» — as a systematized «noise score», a kind of musique concrète. Logicality of proportions and general appropriateness of progress which are characteristic of such «noise score» can be considered as a result of well thought-out creative work. The detailed analysis of Days of Heaven by Terrence Malick approves the idea that John Cage’s concept of «organization of sound» is entirely suitable for film soundtracks — in such cases when the conversations recede to the background.