 Multimodal mental imagery became a hallmark of 1960s European modernist art films. In some of his films, Jean-Luc Godard used sound primarily as a prompt for triggering visual mental imagery (see Levinson 2014’s sensitive analysis of the use of sound in Masculin/Feminin (1966) from this point of view). And both Bresson and Michelangelo Antonioni used sound this way for much of their career, and they were also very explicit about this way of using sound in their theoretical writings and interviews. As Bresson said, “The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences” (Bresson 1975/1977, p. 28) and “A locomotive’s whistle imprints on us a whole railroad station” (Bresson 1975/1977, p. 39). And here is Antonioni giving a textbook definition of multimodal mental imagery: “When we hear something, we form images in our head automatically in order to visualize what we hear” (Antonioni 1982, p. 6). Both Bresson and Antonioni use multimodal mental imagery that is indeterminate and that is also very much emotionally laden. As a counterbalance to this high-brow overkill, it needs to be emphasized that multimodal mental imagery can also be used in a very different manner and still be aesthetically relevant. As Ridley Scott repeatedly emphasizes in his interviews about his Alien trilogy, the Alien is shown relatively rarely because having mental imagery of it is much scarier than seeing it. This general credo has been used in suspense for a long time (from Hitchcock films to Jaws). Finally, the recurring joke on Friends about the ugly naked guy who lives across the street (but whom we never see) clearly utilizes multimodal mental imagery.