# Paging all UK folks - new BBC season on film music



## Guy Rowland (Sep 7, 2013)

Sound of Cinema - http://www.bbc.co.uk/programmes/p01fs3cy

A three part BBC4 series starts on Thursday. Part One is orchestral, Part Two popular music in movies, Part Three electronic. There was a good preview on Kermode and Mayo - interviews with Scorsese, Zimmer and many more. There's heaps of other programming and movies, a little on sound effects too I think.


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## DynamicK (Sep 8, 2013)

Thanks for the reminder Guy. I did see the trailer but will definitely set the timer to record this series.


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## TGV (Sep 8, 2013)

Damn, can't receive BBC4 anymore.


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## woodsdenis (Sep 8, 2013)

http://www.bbc.co.uk/programmes/b03b51db/clips

Interview with HZ


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## TheUnfinished (Sep 8, 2013)

I listened to the interview on Mayo & Kermode too. All sounds like a good, rounded series.


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## Guy Rowland (Sep 8, 2013)

TheUnfinished @ Sun Sep 08 said:


> All sounds like a good, rounded series.



Yes, I very much got that vibe, from The Adventures of Robin Hood to the current blurring between composing and sound design (looking forward to the Carter Burwell stuff). I liked the way they're splitting the episodes too, not by chronology but by genre.


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## ed buller (Sep 8, 2013)

Ace...thanks for this.

E


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## AC986 (Sep 13, 2013)

Watched the first one on orchestras in film last night.

It started off sort off OK and then gradually fell away. Generally it was poor IMO.


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## Guy Rowland (Sep 14, 2013)

Excellent first episode. A tall order to get in the history of all orchestral film music into an hour, but it felt pretty well balanced to me. Learned lots on the way - Korngold's contract meant he could order scenes to be lengthened to fit his music! Interesting to compare with HZ who persuaded Ridley Scott to add a more poetic opening to Gladiator (surely a better way of collaborating). It was a bit of a shame they couldn't get a Williams interview. Still, very much looking forward to the next two. Definitely recommended - look out for it outside the UK as doubtless it'll be shown elsewhere over time.


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## DynamicK (Sep 15, 2013)

Can be watched/ downloaded online at *BBC IPlayer* website.

http://www.bbc.co.uk/iplayer/episod...The_Music_that_Made_the_Movies_The_Big_Score/

I see that there is also a program coming on Radio 3, by the same presenter, on Max Steiner's music.


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## snowleopard (Sep 15, 2013)

Sucks we can't see this in the States. I tried the Stealthy plugin for Firefox, but to no avail. :(


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## AC986 (Sep 15, 2013)

snowleopard @ Sun Sep 15 said:


> Sucks we can't see this in the States. I tried the Stealthy plugin for Firefox, but to no avail. :(



You didn't miss anything you hadn't seen before. It started off with The Ipcress File opening titles and then went back to Steiner more or less. That was weird. A lot of time was then spent on Bernard Herrmann. But instead of then moving onto Morricone and Goldsmith it just moved into Williams. 

No Jerry Goldsmith? No Elmer Bernstein? No Morricone? No Thomas Newman? No David Shire? No michael Small et al. It needed to be longer and far more comprehensive. Not quite sure who this program was made for either. All in all it was fairly crap and just skirted the subject. 

And no Adolph Deutsche!


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## Guy Rowland (Sep 15, 2013)

adriancook @ Sun Sep 15 said:


> snowleopard @ Sun Sep 15 said:
> 
> 
> > Sucks we can't see this in the States. I tried the Stealthy plugin for Firefox, but to no avail. :(
> ...



Well yes - but you can't stop there. He really should have ticked all these boxes at a bare minimum:

Maurice Jarre, Elmer Bernstein, Jerry Goldsmith, James Horner, Alfred Newman, Danny Elfman, Miklos Rozsa, Henry Mancini, Lalo Schifrin, Joe Hisaishi, Victor Young, Alan Silvestri, Howard Shore, George Duning, James Newton Howard, Nino Rota, Loanard Berstein, Alex North, Thomas Newman, Brian Easdale, Herbert Stothart, David Raksin, Eliot Goldenthal, Aaron Copland, Alex North, Fumio Hayasaka, George Fenton, Hugh Montenegro, Angelo Badalamenti, Malcolm Arnold, John Powell, Burt Bacharach, Jean Claude Petit, Dimitiri Tiomkin, Alexander Desplat, Rachel Portman, and Don Davis. (I'm sure I've offended people left out).

On top of those already featured, admittedly that does only leave 18 seconds per composer, but at least ALL THE BOXES WOULD HAVE GOT TICKED.

Well, on the other hand, given that there is only three hours in the whole series, to isolate a few pioneers and trend setters of orchestral film music and spend time with them - and spend the other episodes looking at popular and electronic music - was another way to go I guess.


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## AC986 (Sep 15, 2013)

Yeah it was the way to go. But it was a drag. OK if you know almost zilch about films and the cinema and you are just about interested on a semi boredom evening in.

Everybody that knows anything knows Psycho, Vertigo and Citizen Kane. Superman and Star Wars. And the rest of what was featured. Ergo, the program was not really for anyone who knows anything already. All been covered and dare I say it, probably lifted from the music forums in the first place.

Edit. James Horner? >8o


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## Guy Rowland (Sep 15, 2013)

adriancook @ Sun Sep 15 said:


> Yeah it was the way to go. But it was a drag. OK if you know almost zilch about films and the cinema and you are just about interested on a semi boredom evening in.
> 
> Everybody that knows anything knows Psycho, Vertigo and Citizen Kane. Superman and Star Wars. And the rest of what was featured. Ergo, the program was not really for anyone who knows anything already. All been covered and dare I say it, probably lifted from the music forums in the first place.
> 
> Edit. James Horner? >8o



Did you know about the power of Korngold's contract? Maybe you did - I didn't, and I expect few of the audience did. The nature of the show was to show the origins of film scoring, how the basic techniques worked, and broadly how they evolved, for a mass audience, with some terrific stories, interviews and footage on the way. If you're a scholar of film scores I'm sure you'll learn little, but again - it's for a wider audience and lasts an hour. And even many scholars I'm sure would share the thrill of hearing an original monster of a cinema organ (who knew wind-powered drums would sound so good?), or seeing an original Korngold score from the Warner's vault, or an original baton or the resident piano on which the scores would have been written. I loved that it was made by a composer with such an evident love for his craft.

Clearly his approach isn't for you (shame - you missed a great show), but I'm quite sure it will have great value for many others. On a whim, just searched for reviews and found this as the first I looked at - http://www.thestage.co.uk/features/tv-radio/2013/09/tv-review-sound-cinema-music-made-movies-peaky-blinders/ (http://www.thestage.co.uk/features/tv-r ... -blinders/) . The author is not alone - Mark Kermode tweeted that he "knocked it out of the park". I'm with them.


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## AC986 (Sep 15, 2013)

You can go on all you like but not to give Jerry Goldsmith at least as long as some other names on there was remiss and that's putting it mildly. I will watch the next two. But I will be bored.


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## Guy Rowland (Sep 15, 2013)

I honestly wouldn't bother watching - you and I both think you'll be bored. Read a book instead.

Meanwhile for everyone else out there - watch if you can, it's a great series. I know iPlayer doesn't work outside the UK, but as I said earlier, I'm sure it'll be available elsewhere in time.


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## snowleopard (Sep 17, 2013)

Thanks for the, uh, input.


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## AC986 (Sep 20, 2013)

snowleopard @ Tue Sep 17 said:


> Thanks for the, uh, input.



The second part was on last night and it was a fucking drag. A mish mash. It was worse than the first part, And that's giving it the benefit of the doubt.


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## Guy Rowland (Sep 20, 2013)

adriancook @ Fri Sep 20 said:


> snowleopard @ Tue Sep 17 said:
> 
> 
> > Thanks for the, uh, input.
> ...



You gotta laugh.

Another terrific episode, focusing on popular music - Alex North, John Barry, Lalo Schiffrin, Ennio Morricone and Angelo Badalamenti are featured among others. As before, loads of great stories and anecdotes (North's original score for Streetcar Named Desire was ordered to be changed by the censors as it was too suggestive; John Barry paid £250 for arranging the James Bond theme etc). Badalamenti reprised his wonderful talking us through David Lynch and he coming up with the Twin Peaks theme - http://www.youtube.com/watch?v=SwvSFOEfHJE

Can't personally vouch for this, but I hear this works well for folks outside the UK wanting to catch it on iPlayer - https://www.tunnelbear.com/ . It's 500mb per month free, then there are various plans above that.


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## ed buller (Sep 20, 2013)

Really can't understand what anybody would grumble about a three part series dedicated to film music........seems silly. No loads of people didn't get a mention but what was there was very enjoyable and showed off by a man that's obviously very excited and knowledgeable about it. 

Seems daft to moan TBH.......

E


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## jleckie (Sep 20, 2013)

I enjoyed it very much. Getting to hold the original "Robin Hood" score in ones hands has GOT to be earthshaking.


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## AC986 (Sep 20, 2013)

ed buller @ Fri Sep 20 said:


> Really can't understand what anybody would grumble about a three part series dedicated to film music........seems silly. No loads of people didn't get a mention but what was there was very enjoyable and showed off by a man that's obviously very excited and knowledgeable about it.
> 
> Seems daft to moan TBH.......
> 
> E



Normally I watch these type of programmes but last night I took a dump in the middle of it without pressing pause on the Sky controller. That's a bad sign. I saw all these films at the cinema when they actually came out and I have no idea what this guy is talking about.


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## Guy Rowland (Sep 20, 2013)

Never too late to learn, Adrian


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## AC986 (Sep 21, 2013)

Yeah but from whom? You or this guy on TV? I don't think so. :lol: :lol: 

Have either you ever heard of Roy Webb? When you talk about film noir on TV and not mention Roy Webb or even Val Lewton then I get this strange feeling come over me that I'm in the company of buffoons.


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## Guy Rowland (Sep 21, 2013)

adriancook @ Sat Sep 21 said:


> Yeah but from whom? You or this guy on TV? I don't think so. :lol: :lol:
> 
> Have either you ever heard of Roy Webb? When you talk about film noir on TV and not mention Roy Webb or even Val Lewton then I get this strange feeling come over me that I'm in the company of buffoons.



Once again you seem to have entirely missed the point. This wasn't a study of film noir, this was a programme about popular music in film. The show looked at the first jazz score, A Streetcar Named Desire, mentioned it heralded an era of jazz in 50's film before moving on to different musical influences in the 60s.

Adrian, I don't think you've been at VI-C very long, but you seem to have a liking for negative posts seemingly highly critical of everything and everyone in broad sweeping derision. So far, yours is the only wholly negative opinion I've read on the series for example, and I've read a fair bit both in print reviews and social media. Were you passed over to present this show or something? I can't quite explain it otherwise.


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## AC986 (Sep 21, 2013)

Right. But this guy admitted to not having seen Street Car until around the 1980's. I saw it at the cinema at special showing in 1959; and that was late.

A negative post is a post that someone doesn't agree with. I've probably forgotten more about music than you know so don't come your fucking bollocks with me. You can't win this because I am right and am completely comfortable in the knowledge that I know more about this than you do. Whatever you say will not improve the content of this tv programme.

Films are about their time. Not about reading books and asshole social medial shit. That's for morons who want to jump from the nearest high building.


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## Guy Rowland (Sep 21, 2013)

Charmed, I'm sure.

(Oh, and thank you for making my point for me)


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## jleckie (Sep 21, 2013)

Oh-Adrian your going to get one of those little numbers next to the 'warnings' note. 

After seeing more of the show I do believe it's a bit of a stroke fest going on here. Ie the narrator doing the stroking. The guy flew out to LA and stands in WB's scoring stage and well...he didn't have much to say.

To me, there are just too many importants left out.

But...ANY information on the subject of the history of film scoring IS appreciated as it in the very least creates an awareness of the medium, which IMO, is sadly lacking in our culture.


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## AC986 (Sep 22, 2013)

jleckie @ Sat Sep 21 said:


> Oh-Adrian your going to get one of those little numbers next to the 'warnings' note.
> 
> After seeing more of the show I do believe it's a bit of a stroke fest going on here. Ie the narrator doing the stroking. The guy flew out to LA and stands in WB's scoring stage and well...he didn't have much to say.
> 
> ...



Correctamundo! Now you see the light.


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## Guy Rowland (Sep 23, 2013)

This is an excellent radio documentary part of the season, which looks at contemporary film scoring (again, UK only I'm afraid but try Tunnelbear):

http://www.bbc.co.uk/programmes/b03bfjqv

I think the third episode of the BBC4 series will cover very similar ground as this. Basically, it's everything that gets discussed daily at VI-C, but with Hans Zimmer, James Horner, Lorne Balfe, Garbriel Yared and Danny Elfman in the room. Jay, if you want more bite then try here - things get a little, um, awkward in places. (that's not to preclude the next BBC4 episode, which might be tonally different to looking at predominately past glories).

Very interesting to compare James' and Hans' approach - the former seeks seclusion and isolation when scoring, the latter as we know has a virtual factory to service the needs of the score. And then there's the brutality of Troy, where Gabriel Yared's score he worked on for 18 months was kicked out at the 11th hour, and Horner composed one in 9 days! "I think the end result was somewhat the same, in terms of success of the movie", reflects Horner some years on. Sobering stuff.


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## EwigWanderer (Sep 26, 2013)

Guy Rowland @ 9.20.2013 said:


> Can't personally vouch for this, but I hear this works well for folks outside the UK wanting to catch it on iPlayer - https://www.tunnelbear.com/ . It's 500mb per month free, then there are various plans above that.



Tested with iPad here in Finland and works fine. Thanks for this.... Didn't know about tunnelbear.


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## AC986 (Sep 27, 2013)

Watched the third part on electronics in film music last night. Fell asleep about half way through.

All in all my take on the series as a whole. Crap.


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## Guy Rowland (Sep 27, 2013)

adriancook @ Fri Sep 27 said:


> Watched the third part on electronics in film music last night. Fell asleep about half way through.
> 
> All in all my take on the series as a whole. Crap.



Out of interest, when you stick your hand in the fire, do you usually do it twice more just to see if it still hurts and then take to the internet to tell everyone all about it, Adrian?

Looking forward to catching up with part three. Just seen the review of last week's at The Independent - "Occasionally, a documentary comes around that manages not only to entertain and inform you, but also to change the way you look at its subject. BBC4's magnificent Sound of Cinema: the Music That Made the Movies is one such series".


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## Guy Rowland (Sep 27, 2013)

Part three was fantastic, looking at electronics in film music. Hitchcock featured a lot - the show started with Roja's use of the theramin on Spellbound, and then the use of the Trautonium on The Birds, about which I knew nothing - http://en.wikipedia.org/wiki/Trautonium . The Moog soon appeared of course with Walter Carlos and A Clockwork Orange, and the programme flirted with sound design - The Conversation and Walter Munch's Apocalypse Now was studied (Coppola's original vision was for the film to play in only ONE cinema with a specially installed sound system!) The along came Vangelis first with Chariots of Fire and then Blade Runner.

The two contemporary composers studied were Carter Burwell and Clint Mansell, both fascinating. I was kinda surprised we didn't see more from Remote Control given their use of samplers and synths, but the radio 3 documentary covered that well.

A great series that does seem to have genuinely raised the profile of sound and music generally.


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## AC986 (Sep 27, 2013)

It's Rosza. And it's Murch. I know more about this than the whole fucking staff of The Independent.

And have you or the twat that did this programme ever heard of The Day the Earth Stood Still?

Clint Mansell is only interesting from the pov of being a total film scoring disorder and Carter Burwell never ceases to fascinate in his phenomenal ability of the use of sparseness to the point of what and where was it. Anyone with a modicum of musical talent and ability will see through this nonsense. Otherwise there seems to be the necessity of a re-examination of personal standards fairly rapidly I would add.

Also, as a sidebar, the theme to Chariots was good. A good theme and thematic runs through the film. But the interest is in that, not the fact that it was played electronically. It could have been scored for an orchestra and still had the same effect. So it being done on a synthesizer is a moot point and of no real extra particular impact on the film. 

Using No Country for Old Men as a film scoring exercise is almost hysterical beyond belief btw.

This whole 3 part fuck up turned into a crap fest for just about anyone with only a passing interest in film scoring. IMO.


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## Guy Rowland (Sep 28, 2013)

adriancook @ Fri Sep 27 said:


> the theme to Chariots was good. A good theme and thematic runs through the film. But the interest is in that, not the fact that it was played electronically. It could have been scored for an orchestra and still had the same effect. So it being done on a synthesizer is a moot point and of no real extra particular impact on the film.



Wow, I'm delighted to read you saying you actually like something (or rather that it is intrinsically "good", since you are the ultimate arbiter of taste) - the theme from Chariots of Fire. But once again it proves you entirely missed the point of the show and the series, because the reason for including Chariots was that it was a period drama scored electronically (which was groundbreaking), and the result was warm and crowd-pleasing. Of course its a fine tune, but the show was looking at the evolution of electronics in music, to which Chariots was an important stepping stone. One could also point to Maurice Jarre's score for Witness a few years later for a similar juxtaposition, but unlike yourself I understand not every composer or score can be covered for reasons of time.

But hey, I'm just a f***ing moron who couldn't f***ing understand a f***ing note of music if it was f***ing put in front of me, just like every other f***ing p**ck who has liked this f***ing appalling series because they have no f***ing intellect to appreciate anything, unlike yourself. Well, you know what they say Adrian - ignorance is bliss. :D


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## AC986 (Sep 28, 2013)

Lookey here.

When John Williams plays the glockenspiel an angel gets its wings.

When Cliff Mansell does, angels grows whiskers and a pair of bollocks.

And that ain't right.

I mean are you a musician? I don't mean do you compose music for a living. I mean are you an actual musician? What's you're training? Prove to me why I should listen to you. I need proof. Because I don't give a rats ass what other people say about this or any other programme. I don't live in that comfort world. I'm a much better musician then they will ever be or imagine they can be. Not writer. Musician. Writers spend a lot of time proving to the world through the very thing they do that they are indeed just that. Writers. Not musicians.

If you're going to attempt (and let's face it, 3 hours with no commercials is fucking plenty) a series like this, THEN YOU HAVE TO MENTION Jerry Goldsmith. Roy Webb. Elmer Berstein. Any many more AND give examples. If you're going to waffle on about the Theremin, THEN YOU HAVE TO TALK about The Day the Earth Stood Still and Bernard Herrmann's use of TWO fucking theremins.

I mean I have nothing personally against Cliff Mansell or Carter Burwell but I mean...well really.

Finishing up the series by saying something like these guys always wind up putting the right notes in the right place for joyful audiences around the world is ridiculous beyond recognition.


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## Guy Rowland (Sep 28, 2013)

adriancook @ Sat Sep 28 said:


> Prove to me why I should listen to you. I need proof.



This is the crux of it really. You are coming at it from the perspective of a (no doubt) highly able veteran musician. Here's the thing - that's irrelevant. All that matters is the experience of the audience, and that is what this series examined. The Birds had no score at all and was as effective as hell. Sound design and composition blur. Is Williams more musically gifted than Carter Burwell? It doesn't matter, not to an audience. If they are creeped out in No Country For Old Men, it's in part because of the skill, craft and taste of that minimalist sound design. We don't know what Williams would have done with it (would be fascinating to know - I'm a massive JW fan), but we can say with confidence that the final version was effective for a great number of people. To me, there's little doubt that this is direction that scoring is moving into - Breaking Bad's score is sparse and I've little doubt is not consciously noticed by the audience (yet works brilliantly), and there's no more influential show out there right now.

Jerry Goldsmith was an oustanding composer, but there's not a strong case for featuring him here. Look at that long list I posted - are any of those composers not supremely gifted? They all are, but the narrative and spine of this series is not focused on the majority of them. You, clearly, wanted this to be an entirely different series which exalted those composers with the most technical skill, or perhaps the best tunes or had the most Oscar nominations. That would be of less interest to the general public, which was the target audience of this series, which instead experienced film and sound through a broad sweep of historical innovation in three broad areas. The host was a composer (you can compare your CV with his at Wikipedia if it amuses you - http://en.wikipedia.org/wiki/Neil_Brand ). Crucially, Brand was able to recognise the pioneers and those who took music or sound a new direction, and demonstrate how effective these new directions were to an audience. You might not personally like the work done by a modern composer like Clint Mansell whose background was in a 90s indie pop band and has no classical training, but the audience is the judge. The fact his Requiem For A Dream has been so copied and used to sell other films is all you need to know.

You might consider that the public has no right to judge whether something is of value - personally, I don't see it that way. While you look down upon and scorn quality journalists who clearly don't have the expertise you do, they represent the 99.9% out there who don't have a clue what we do. If this series - short as it was - bowls that audience over and our work gains a greater awareness as a result, I say that's a terrific thing.


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## AC986 (Sep 28, 2013)

Guy Rowland @ Sat Sep 28 said:


> Here's the thing - that's irrelevant. All that matters is the experience of the audience, and that is what this series examined.



Yes, but I am also an audience. So again, who is this series aimed at?




Guy Rowland @ Sat Sep 28 said:


> The Birds had no score at all and was as effective as hell. Sound design and composition blur.



This is totally OK as a statement. No problems with that at all. But I don't actually agree with the effectiveness of it in what is a flawed film. Yes flawed. You have to remember (although you won't possibly know because you were probably not alive) that when it came out it was regarded as a lesser film by Hitchcock. Popular yes. But he missed a trick and fell into the stylised audio crap that was made popular through sci-fi films. He should have had a real and proper Herrmann score on that one. No doubt in my mind at all about that. As it turned out historically, it was indeed Hitchcocks last roundup. Never really made another film that hit the mark after The Birds.





Guy Rowland @ Sat Sep 28 said:


> Is Williams more musically gifted than Carter Burwell?



Yes.

By a nautical mile.





Guy Rowland @ Sat Sep 28 said:


> Jerry Goldsmith was an oustanding composer, but there's not a strong case for featuring him here.



So you're saying that Neil Brand has not heard the score to say, Planet of the Apes?




Guy Rowland @ Sat Sep 28 said:


> You might not personally like the work done by a modern composer like Clint Mansell whose background was in a 90s indie pop band and has no classical training



Yes I couldn't help noticing that.


If audiences today wish to be 'educated' in scores, photography, direction, and so on, they need to be bludgeoned by a better presenter than Brand. Brand is a good keyboard player. Very good. And maybe many other instruments. But he is too subjective to be any good at this side of it. You need someone who is not close to any of these writers. Someone who doesn't care if he hurts a few feelings.


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## Guy Rowland (Sep 28, 2013)

adriancook @ Sat Sep 28 said:


> But he missed a trick and fell into the stylised audio crap that was made popular through sci-fi films. He should have had a real and proper Herrmann score on that one. No doubt in my mind at all about that.



Indeed - no doubt in your mind I'm quite sure. But others disagree (such as Carter Burwell). You seem to want to deny them a view, as if everyone who doesn't agree with your assessment has no worth or validity. In which case - care to share your CV with us, so we can judge your own comments by your own standards? Based on experience for example, are you or Neil Brand more "qualified" to be an authority? :D 

I make no claim be on the same planet as the Hermanns' and Williams of the world of course. But that's not baggage I choose to bring. If Carter Burwell has produced a score that serves picture, especially a good picture, it's more than enough for me. In fact, let's take a brief moment to think about some of the movies has has scored - Fargo, Being John Malkovich, O Brother Where Art Thou, Barton Fink and Miller's Crossing. Many Coen films in there of course, with their odd sensibilities. Do you deny the right of Carter Burwell to interpret them in the way he has done? Do you honestly believe that films such as this are best served only with composers on your approved list? IMO his contribution to modern cinema (and that of sound designer Skip Livesey has been immense.

You seem very worked up and angry at those who have not, perhaps, paid their dues in a way that is meaningful to you. Believe me, the audience does not care one crotchet. And speaking of audience - no, you're not the target audience of this show. I'd say the target audience is the intelligent film watcher with at least a passing interest in film music and / or sound. I'd also say the target audience is not made up of elitists who denigrate views of others as lesser to their own. Any show made for an audience broader than elitists is, by definition, unlikely to appeal to elitists.

Oh and personally, given the almost violently aggressive tone of some of your posts here, I don't put too much weight on your view that the show needed a presenter who hurts a few feelings. The show was a celebration of the medium, not an inquisition - fine by me.


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## AC986 (Sep 28, 2013)

Guy Rowland @ Sat Sep 28 said:


> The show was a celebration of the medium, not an inquisition - fine by me.



Well I'm very pleased for you and I sincerely harbour hopes that you and Brand will be very happy together. :D


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## woodsdenis (Sep 28, 2013)

http://www.synthtopia.com/content/2013/ ... s-of-fire/

Clip from the series, a musician and writer I believe.


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## mosso (Sep 29, 2013)

adriancook @ 28/9/2013 said:


> Guy Rowland @ Sat Sep 28 said:
> 
> 
> > The Birds had no score at all and was as effective as hell. Sound design and composition blur.
> ...



So was Vertigo.


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## AC986 (Sep 29, 2013)

Not in France it wasn't.


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