Just saw in the TV Times, on BBC 4 at 9pm- is a programme called 'score'. apparently with input from Williams , Elfman , Zimmer and others .If yer interested(I don't think this has been posted yet).
Coo, watch out for my name in the massive crowd of closing credits. (Tiny font, I think while the shot from Titanic of Kate Winslet with her kit off is on the other half of the screen...)
I contributed to the kickstarter campaign for that documentary... One of the few projects I regretted funding. This so called "documentary" is no more than a very long promo for Hollywood star composers. Very little info and a lot (way too much) self praising of mostly American white men. I expected e real insight into how the artists work all over the World and how diverse scoring can be, but it's only focusing on Hollywood and the blockbuster composers...
There's a twitter feed for this documentary @SCOREmovie which I've been following though I haven't seen it yet. According to it, Williams does contribute. I'll look forward to watching it next week.
Watched most of this last night. Wasn't great. Lots of folk showing how they do stuff on their computers. The likes of Barry and Morricone were quickly mentioned, bit more focus on Williams. Pleased to see David Arnold featured.
I had to laugh at creepy Brian Tyler stalking cinemas watching people to see/hear if he was God's answer to living and the only memorable thing you can hear in the background was ALAN SILVESTRI'S theme from the Avengers. Similar thing with Klaus Badelt's theme from PIRATES OF THE CARIBBEAN, during the Zimmer tribute, although he comes off as a really nice, cool dude.
Overall I thought it was an interesting 90 minutes. However, any programme that purports to explain the development of music for films that omits even mentioning the likes of Korngold, Rozsa or Elmer Bernstein and gives about 90 seconds combined to John Barry and Ennio Morricone fails miserably. I have the greatest respect for all composers even if their music is not to my liking but the scant regard given to these giants is to be deplored.
Ennio would have been hopping mad had he seen it. He only got a brief mention for "spaghetti westerns"
I sat through this and quite enjoyed it at times. It was not surprisingly focussed on modern music and the change from the good old days to computerised sound designers. I thought the bit on how music stimulates the brain was interesting and had some good session sequences. And I thought it was interesting showing some of the technical aspects of how a score comes together. It had a few important name checks from the early days and I was shocked JG was seen and had a reasonable mention for POTA and Chinatown. Williams for his big 70s scores with Spielberg was nice. Barry did not get much and seemed to get full credit for the Bond theme and not much more. This was never going to satisfy hardcore fans but was more than ok.
And to be fair I think it was always intended to be primarily a look at the current practice of film scoring, and not a history of the form. So we should consider the brief mentions of Goldsmith/Barry/etc as a bonus, rather than grumbling about the lack of Korngold/Rozsa etc. I note the TV broadcast did away with the massive full end credits (boo!) and gave us an edited version :-P
