Director and composer working together to create magnificence

At 1:05 we have a "tripping" of the winds in their rhythm, almost like a fluttering of the hearts of the boys, or the stumbling of the agents as they chase the boys. It creates a hesitation in the music..just when you get used to steady eighth notes, we hear that little stumble. Thus it creates this sense of insecurity, and really paves the way for the very assertive brass line over them.
At 1:11, the sirens of the police match the pitches in the orchestra..5th to tonic in the key of C. This is no accident of course!
At 1:40, the running scale downwards to the downbeat matches the first set of boys landing from their jump, and the same thing follows with the second set of boys. Again, no accident!
At 1:42, the rapid scale upwards to the downbeat matches the boys on their exact moment they come over the hill.  Up until 1:53, every time the boys tackle the hills in their ride, Maestro Williams gives them a rapid scale...more like glissandos really, considering how fast they are.
 
At 1:58, as the brass repeat their motif up an octave; the police car screeches to a halt, mimicking the louder, more strident brass here.
 
At 2:13, the orchestra becomes very loud and clamorous as the boys create their own noise and clamor as they land, one by one, on top of the police car.
At 3:07, the boys believe they outran the agents and are home free.  We get our beautiful melody but it is distorted by the trombone's dissonance here..showing us, aurally, that there is still impending doom and they cannot rejoice yet.
The orchestra enters into chaos right as the agents run out to grab the boys. The brass gets dark as the camera zooms in on the gun, and at 3:33, the percussion enters perfectly right as the boys take off into the air.
None of this is by accident, and shows how a director and composer work closely together. Of course, it helps when they are both geniuses! Video courtesy of Peter Montag.