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You would hear Goldenthal scoring, not see that. Although perhaps you could see maybe some recording sessions photography or documentation!
You wouldn't hear Goldenthal scoring, for presumably he'd be scoring by writing down the score via pencil and paper (or however he works). You'd hear only the final result after the performance is recorded and you listen to it. 
Gudnadóttir wrote this one by hand too!.
She uses Steinberg Cubase. And while she might have sketched ideas melodically on manuscript it’s doubtful she wrote it all out the old fashioned way. Even Goldenthal used sequencers in the 90s for many of his scores. Writing out scores in this age of right deadlines is just not feasible. I finished a concert commission this week that I’d been working on for the last 5 months and a good week of was just dedicated to engraving (parts, including piano/vocal score). It’s a laborious task which is why film composers have orchestrators and copyists. They don’t have the time to do everything like concert composers do.
You´re right, of course. I was talking about sketching. Like you say, it´s not really about the lack of skill (at least not if you are classically trained), but the lack of time. Even Marianelli uses software, and he, like Hildur, had a lot of formal training.
Which makes me wonder... how many of the current pool of composers working in Hollywood have studied composition, couterpoint, harmony, theory and the like in an actual conservatory, and thus are "classically trained"?. Are they the minority?. Or not really?.
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I've rarely seen a popcorn film so inadequately served by its score. It's staggering that a composer charged a fee for this. Beyond belief, too, si that film reviewers who routinely don't notice scores would praise this one -- such is the tryanny of fashion over substance.
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As for the film, I thought the cockatoo was the killer. Would have made more sense, too.
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Which makes me wonder... how many of the current pool of composers working in Hollywood have studied composition, couterpoint, harmony, theory and the like in an actual conservatory, and thus are "classically trained"?. Are they the minority?. Or not really?.
That’s a good question. Hard to know. I can tell you most orchestrators and copyists have had formal training. They’ve had to.
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Being classically trained is one thing, being a gifted dramatist is quite another, and this is where a good many of the new breed of composers simply fall flat on their faces in front of me.
They're shit at story-telling.
Göransson's Oppenheimer being a prime example.
Agreed. Technique without sensitivity to story telling isn’t good. All of the greats had that innate dramatic sensibility along with an excellent musical vocabulary.
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