The face of young private Ryan (played by actor Matt Damon) is slowly morphed back to an older private Ryan (played by Harrison Young), while at the same time the background is dissolved from a besieged city during World War 2, into a graveyard set in the modern day; there is no doubt in the audience's mind about the two men being one and the same. An overlapping sound is usually a sound effect or speech that continues briefly from one shot into the next. Overlapping sound may be a sound advance, where a speech or sound effect in an incoming shot is heard briefly in the outgoing shot. Overlapping sound may be used to connect, dynamically, two separate pieces of dramatic action or to enhance the pace of story development. It is the advancement of a sound, to be heard in a new shot or scene, taken from the end of the preceding scene. Sound advances, common in modern films, are actually combined with cut transitions to pull the action of the story forward in a dynamic manner. Alfred Hitchcock fairly well patented the sound advance in his 1929 classic "Blackmail". A young woman (Anny Ondra) wandering the streets of London in shock after killing a man, comes upon a drunk lying on the pavement, his arm extended in the same manner as the artist just murdered by the woman in his studio apartment. The image of the arm seems to precipitate a scream from the young woman. A cut, however, reveals that the scream is coming from a landlady who has just discovered the dead artist's body in his apartment. The sound advance also has conceptual, satirical, and dramatic possibilities. In "Five Easy Pieces" (1970), the unexpected sound of a bowling ball rolling down a bowling lane is heard in the final seconds of a scene in a motel room where Jack Nicholson has taken a girlfriend. Just as the ball strikes the tenpin, a cut is made to a new scene where Nicholson is bowling with the woman. The combined sound advance and the cut transition together serve as a sexual metaphor. An asynchronous sound is a term for sound that has not been synchronized with the screen image. Asynchronous sound also includes aesthetic use of sound for expressive purposes. Because of the composite nature of film art, the element of sound (music, dialogue, sound effects) is highly manipulative. The sounds of a clucking chicken can be juxtaposed with a shot of a ranting politician for satirical effect. A popular variation of asynchronous sound in contemporary filmmaking has been in the use of sound advances in the editing scenes.