I enjoyed the background and interviews, but wanted more. I can't believe John Carpenter was not included. I am not sure if he is being slighted by Hollywood for doing his own thing, but he deserved to be included. Another slight was the recently deceased Johann Johannsson. Johann was one of the most innovative modern film composers and will be deeply missed. I also wished they would have revisited the guy with the Piano in the valley to see what he did with that unique set up.
51 Reviews
603rd Review: Good on modern composers, but could be more
intelearts17 November 2017
Warning: Spoilers
Score is the sort of documentary that anyone with more than a passing interest in film can enjoy - financed partially by 1,870 backers it explores in real depth the process, the creation, the orchestration, engineering and history of the past 30 years in film.
Score starts ambitiously, looking at movie scoring in the 30s, 40s, and 50s, before turning to the great composers of the 70s Jerry Goldsmith and John Williams. It then turns to look at more recent favourites. There are plenty of interviews and plenty of scores.
However, the film is restricted by studio choices to only being able to use certain scores, and some of the really great film scores that one would love to know more about just aren't there. In particular, with the tragic death of James Horner, having only a two minute piece (a very good piece though) in the end credits is a real shame. I sat through the whole film waiting for the section on James Horner that simply isn't there.
Again, it is a well-made and interesting insight to the world of film scoring and deserves viewing, but for this viewer by not being able to get all the studios to release their soundtracks at a minimal cost the film ends up focusing on only some of the great scores.
Score starts ambitiously, looking at movie scoring in the 30s, 40s, and 50s, before turning to the great composers of the 70s Jerry Goldsmith and John Williams. It then turns to look at more recent favourites. There are plenty of interviews and plenty of scores.
However, the film is restricted by studio choices to only being able to use certain scores, and some of the really great film scores that one would love to know more about just aren't there. In particular, with the tragic death of James Horner, having only a two minute piece (a very good piece though) in the end credits is a real shame. I sat through the whole film waiting for the section on James Horner that simply isn't there.
Again, it is a well-made and interesting insight to the world of film scoring and deserves viewing, but for this viewer by not being able to get all the studios to release their soundtracks at a minimal cost the film ends up focusing on only some of the great scores.
Very thorough and captivating
waynofour7 October 2017
When I heard about this documentary, I was very interested in seeing it because I love the special features of DVD's and Blu-ray disks. Also, much of my music collection is movie soundtracks. The film was shown at the Calgary International Film Festival and this gave me the opportunity to not only see "Score: A Film Music Documentary" but also to meet director Matt Schrader and composer Christophe Beck. The film was very thorough on the subject. It presents the history and creation of film music in such a captivating way. I also loved how the film highlighted some of today's great film composers. As someone who already knew the value of a film score however, I wonder about the impact this movie would have on someone who took the musical score of a movie for granted. If it alters their perception, then as many people as possible should see "Score".
Great but needs a Prequel
jdziubek-7810428 October 2017
Great entertaining detail on the technology that goes into movie music. I liked the attention to the musicians and agents as well. Introducing us to the studios, large and small, was appreciated. I would like to see a companion piece by the director on the earlier film composers. Then he can include Rota, Korngold, Elmer Bernstein, and more of Herrmann, Alfred Newman, Raksin, Steiner, and Waxman.
One of the best documentaries I've had the pleasure of watching...
bryanalford7 October 2017
In 1989, I remember entering my local movie theater to watch Tim Burton's "Batman" -- a film I was eager to see due to my nerd-like obsession with this comic-book hero. What I didn't expect was to be consumed with the film's dark and edgy score, composed by Danny Elfman. While kids were lining up to get the Batman action figures, t-shirts, and other items stamped with the iconic Batman symbol, I was at my local music store purchasing the soundtrack on cassette.
I was mesmerized by Elfman's score. It invigorated an intense sense of imagination and allowed me to think clearly; it calmed my insecurities as a awkward adolescent. Hell, I had to go back and purchase another cassette because I wore-out the first one I bought.
From that point on, I didn't watch movies; I listened. I judged all films by their scores. If the music didn't give me the chills and move my imagination, then I wasn't interested. And I can easily name the films that left me with an urgency to buy the soundtrack on cassette, and later on CD. James Horner's "Glory," John Barry's "Dances With Wolves," Basil Poledouris' "The Hunt For Red October," Ennio Morricone's "The Mission," Randy Newman's "The Natural," Jerry Goldsmith's "Hoosiers," Elliot Goldenthal's "Interview with the Vampire" and anything produced by John Williams--all were scores I had playing on repeat throughout my younger years.
And later in my adult years, I was heavily influenced by the scores composed by Hans Zimmer, John Debney, Ramin Djawadi, Marc Streitenfeld, Tom Holkenborg, Bear McCreary, and many others.
I was obsessed. Still am. In fact, I'm listening to Hans Zimmer's "Gladiator" score while writing this review. And just yesterday, I couldn't hold back my excitement to listen to Zimmer's latest film score: "Blade Runner 2049." I haven't even seen this in the theaters yet, if that tells you anything.
Why does all this matter? When watching "SCORE: A Film Music Documentary," I find myself enthused about movie-making again--the craft... the core of what it takes to be an artist. This documentary allows me to see inside the mind of the film score composer. And at the age when I first started listening to film scores, I was heavily influenced by guys like Danny Elfman, James Horner and John Williams--while my friends had Madonna, Bon Jovi, and other pop artists. But I could feel those emotions again, while watching this documentary. It made me feel young again. New. Creative.
Watching SCORE was therapeutic for me. It was familiar but invigoratingly fresh. And I was able to once again appreciate what it meant to listen to a film, rather than just watch. Thanks to the film's director and writer, Matt Schrader, and his entire crew for making this work of art. It's allowed me to break through the mundane and wake my child-like imagination to be creative and true to myself.
I was mesmerized by Elfman's score. It invigorated an intense sense of imagination and allowed me to think clearly; it calmed my insecurities as a awkward adolescent. Hell, I had to go back and purchase another cassette because I wore-out the first one I bought.
From that point on, I didn't watch movies; I listened. I judged all films by their scores. If the music didn't give me the chills and move my imagination, then I wasn't interested. And I can easily name the films that left me with an urgency to buy the soundtrack on cassette, and later on CD. James Horner's "Glory," John Barry's "Dances With Wolves," Basil Poledouris' "The Hunt For Red October," Ennio Morricone's "The Mission," Randy Newman's "The Natural," Jerry Goldsmith's "Hoosiers," Elliot Goldenthal's "Interview with the Vampire" and anything produced by John Williams--all were scores I had playing on repeat throughout my younger years.
And later in my adult years, I was heavily influenced by the scores composed by Hans Zimmer, John Debney, Ramin Djawadi, Marc Streitenfeld, Tom Holkenborg, Bear McCreary, and many others.
I was obsessed. Still am. In fact, I'm listening to Hans Zimmer's "Gladiator" score while writing this review. And just yesterday, I couldn't hold back my excitement to listen to Zimmer's latest film score: "Blade Runner 2049." I haven't even seen this in the theaters yet, if that tells you anything.
Why does all this matter? When watching "SCORE: A Film Music Documentary," I find myself enthused about movie-making again--the craft... the core of what it takes to be an artist. This documentary allows me to see inside the mind of the film score composer. And at the age when I first started listening to film scores, I was heavily influenced by guys like Danny Elfman, James Horner and John Williams--while my friends had Madonna, Bon Jovi, and other pop artists. But I could feel those emotions again, while watching this documentary. It made me feel young again. New. Creative.
Watching SCORE was therapeutic for me. It was familiar but invigoratingly fresh. And I was able to once again appreciate what it meant to listen to a film, rather than just watch. Thanks to the film's director and writer, Matt Schrader, and his entire crew for making this work of art. It's allowed me to break through the mundane and wake my child-like imagination to be creative and true to myself.
Hear no evil.
Pjtaylor-96-1380449 May 2020
'Score: A Film Music Documentary (2016)' is about all things film music, clearly created out of a love for the craft. It's great to see an often understated side of movie making explored in all its glory, even if the picture only really provides a cursory inspection of the craft. Of course, there are moments of genuine insight - most of which occur when the affair focuses on the behind-the-scenes process of specific composers - and these are the experience's most enjoyable parts, as well as its most interesting. It shows just how complex composing for film is, regardless of how accomplished the final result will be (it's as difficult to score a masterpiece like 'Star Wars (1977)' as it is, say, 'The Gunman (2015)'). If you aren't already a massive fan of film music, I'm sure the flick will provide you with a decent amount of new information and instil at least an appreciation for the craft. Regardless of your familiarity with the subject matter, the picture is always entertaining even when it isn't hugely informational. It revels in its highlighted music, pouring love and adoration atop everybody featured. There are a number of notable omissions (no Giacchino or Harry Potter music?) and it doesn't feel particularly structured, but it's a well-made documentary with plenty of interviews and behind-the-scenes access. 7/10
Worthwhile for any movie-lover.
burke-638335 October 2017
Score is a documentary that aims to highlight an important, yet often overlooked aspect of films: their soundtrack. The documentary takes the subject on mostly in chronological order, from early piano scores to the modern marrying of orchestral and electronic mediums. Along the way, the filmmakers interview film historians, directors, and the composers themselves.
It really is amazing to witness how much emotional impact a film's score can have, down to little details like the volume of a french horn. Though I don't think I will ever truly understand how one creates this music, this is undoubtedly a worthwhile film for any movie-lover. My only disappointment is that the filmmakers were unable to interview the great John Williams (though he was covered extensively).
It really is amazing to witness how much emotional impact a film's score can have, down to little details like the volume of a french horn. Though I don't think I will ever truly understand how one creates this music, this is undoubtedly a worthwhile film for any movie-lover. My only disappointment is that the filmmakers were unable to interview the great John Williams (though he was covered extensively).
I think I just need to make a Jerry Goldsmith Documentary
spam-15930 January 2018
Maybe it is too much to cover the whole history of film music in one film. The golden age of cinema is overlooked and the silver age is touched on in this film. They started talking about Jerry Goldsmith then quickly cut over to John Williams. John Williams is a great composer, I think his best work is Superman (1979) that whole score is great. But we know Williams because he scored Lucas and Spielberg. All the other composers didn't have that exposure. What about Basil Poledouris Conan? Or James Horner's earlier work like Star Trek II: Wrath of Khan?
And going back to Goldsmith. The guy has the greatest library as a whole such creativity, experimentation. The film does show composers fiddling with instruments to get a certain sound. Guess who started that? Goldsmith. Who experimented with moog and electronics? Goldsmith. Guess who wrote the creepiest song ever for the anti christ? Goldsmith!
I guess I would say to anyone that is a slightest of a fan of this music, just start listening there is so much great stuff out there. And a lot of it is on Youtube, which I hope stays up there so people can learn and enjoy these people's work.
And going back to Goldsmith. The guy has the greatest library as a whole such creativity, experimentation. The film does show composers fiddling with instruments to get a certain sound. Guess who started that? Goldsmith. Who experimented with moog and electronics? Goldsmith. Guess who wrote the creepiest song ever for the anti christ? Goldsmith!
I guess I would say to anyone that is a slightest of a fan of this music, just start listening there is so much great stuff out there. And a lot of it is on Youtube, which I hope stays up there so people can learn and enjoy these people's work.
Should have been at least 4x longer
Geekofriendly13 January 2020
Warning: Spoilers
A great and much-needed documentary that any contemporary movie music lover will likely appreciate deeply. However, with the impressive line-up of so many of the greatest Hollywood composers of our time in one movie, I couldn't help but wish it were x-times longer and more in-depth. Perhaps it could have even been turned into a mini-series, akin to Soundbreaking (a documentary mini-series on the history of recorded music, which I highly recommend to any reader of this comment, given that what we share is a love for great sound and mixing).
I will say, the time they did take was well spent. Yes, they didn't dwell much on the era before the 60's, but frankly, they didn't have time to. The way they pay homage to John Williams was breathtaking, tho! When they cranked up his music my eyes teared up and an even deeper appreciation arose. Sadly, they rushed by most other composers, Henry Jackman and Mychael Danna barely got any screen time.
Could have been longer, which only means there's probably many more who think it should have been more in-depth. To many more similar documentaries and projects.
I will say, the time they did take was well spent. Yes, they didn't dwell much on the era before the 60's, but frankly, they didn't have time to. The way they pay homage to John Williams was breathtaking, tho! When they cranked up his music my eyes teared up and an even deeper appreciation arose. Sadly, they rushed by most other composers, Henry Jackman and Mychael Danna barely got any screen time.
Could have been longer, which only means there's probably many more who think it should have been more in-depth. To many more similar documentaries and projects.
Not a GREAT doc, but a good one.
matthewssilverhammer8 April 2018
I'm such a sucker for filmmaking docs, and this is a good one. Covering the entire history of composers scoring films, it's surprisingly comprehensive for how giant the topic is. Still, its scant 94 minute runtime did make me wish there was a "The Story of Film: An Odyssey" mini-series version of it. This will do for now.
Easy to appreciate
Horst_In_Translation8 January 2018
Warning: Spoilers
"Score: A Film Music Documentary" is an American 90-minute documentary movie from 2016, so now it's 2018 and this one really took way too long to be released here in Germany. But the viewing I was in was fairly full, so I'm glad it's getting the attention it deserves. The title summarizes pretty well what this one is about, namely the work of film composers. Early on we find out a bit about use of music and sound in very old films even back to the silent era. And some other stuff from way back like Psycho, E.T., Jaws, Vertigo etc. all films that are somewhat known for their music too. But most of the focus is on recent years. They got many many big name composers in here, almost too many, telling us about the subject and including personal anecdotes about their profession, which makes this an informative watch, but also a really entertaining one. And then of course you hear so much excellent music from start to finish, all the classics, that it is virtually impossible not to appreciate the music. I am for example not the greatest Star Wars or Indiana Jones fan, but I still like listening to the main themes of these movies. This film is very insightful and in-depth and I don't want to go deep into detail about what the interviewees had to say, but it was always interesting and I could have watched and listened for another half hour easily, perhaps even full hour. A really impressive way to launch one's career and most other directors could only have dreamed of such quality in a rookie project like Matt Schrader's here. Good to see it got some awards recognition at least, even if not at the big events. No idea how these go for forgettable stuff like "20 Feet from Stardom", but ignore this one here. Anyway, I myself am not a musician and I possess virtually no musical talent, so you don't need to play an instrument at all to appreciate this film. It's enough if you like music and if we are honest it's not a question of "if", but of which genres and artists are your biggest favorites. Schrader got all the big names in here and I don't want to list the names now as you can see these in the cast list, but a quick special thumbs-up to Alexandre Desplat who just won his second Golden Globe last night and he is also featured in here. Also an interesting reference to the new wave of music artists scoring film like Reznor/Ross did and had huge success with their work in that department. It is a very broad film, very relevant from the first second as we see on-set work, which is also important for score designers and it is not all just taking place inside in the recording studio or the orchestra hall. I think this is all that needs to be said. We truly should be thankful to these musicians for bringing us so many great moments and goosebumps like for example the main theme from Schindler's List. This is a definite contender for best documentary from 2016 and also top10 from all films released that year I guess. Even the seemingly random inclusions of Barrack Obama stealing songs and Paul Walker's death are elaborated on in a way that makes sense. I highly recommend seeing this one. It was a great watch.
Great For Those Who Love The Music Of The Cinema
zkonedog25 September 2017
Sometimes, I think I missed my calling as a film music composer :) In all seriousness, though, I am a huge fan of film scores and soundtracks. While some may focus specifically on acting, or cinematography, or other aspects of film-making, I'm often drawn to the music. As such, "Score" was a fun documentary to watch, as it goes behind-the scenes for a number of different aspects in the process of crafting movie music.
In this documentary, the viewer witnesses (among other things)...
-Composers like Williams, Zimmer, & Elfman talking about their craft -A look at a live orchestra rehearsal and taping for a film -A number of unique instruments used to bolster the traditional wind band or orchestra (anything goes in Hollywood music-making!). -Clips/sounds of your favorite pieces from your favorite films.
The only reason I can't give "Score" higher marks? In terms of cohesiveness, it is a bit messy. I wish it could have stuck to a bit more focused narrative (like, say, the "history of music in movies" that it looks like will be the tact from the beginning), but instead it bounces from person to person and idea to idea so fast that it can never really settled on one thesis. This may hurt the doc's appeal to those who don't already enjoy the subject matter.
For those who know what they are getting into, however, "Score" is a wonderful trip through some of the greatest movie music of all-time. You'll learn a little about the industry, as well as get to hear all your favorites again!
In this documentary, the viewer witnesses (among other things)...
-Composers like Williams, Zimmer, & Elfman talking about their craft -A look at a live orchestra rehearsal and taping for a film -A number of unique instruments used to bolster the traditional wind band or orchestra (anything goes in Hollywood music-making!). -Clips/sounds of your favorite pieces from your favorite films.
The only reason I can't give "Score" higher marks? In terms of cohesiveness, it is a bit messy. I wish it could have stuck to a bit more focused narrative (like, say, the "history of music in movies" that it looks like will be the tact from the beginning), but instead it bounces from person to person and idea to idea so fast that it can never really settled on one thesis. This may hurt the doc's appeal to those who don't already enjoy the subject matter.
For those who know what they are getting into, however, "Score" is a wonderful trip through some of the greatest movie music of all-time. You'll learn a little about the industry, as well as get to hear all your favorites again!
Fine, if you're only interested in film scores from 1960 to the present.
fitzfilm7 November 2017
This well made documentary focuses on only half of the story, and the eras it celebrates are so hyper-reverential toward John Williams and a few others that it becomes one of those "Hollywood scratches its own back" movies. There's a staggering overabundance of minutiae on current methods and the middling films the composers are working on at the time of their interviews - and it gets boring.
Filmmaker Matt Schrader skips from silent films over the most important film composers and arrangers of the 1930's, 40's and 50's - the same composers that the current crop stand on the shoulders of often without knowing it.
Schrader's greatest sin is that he barely touches on Alfred Newman and Max Frickin' Steiner, only brushes on Bernard Herrmann and then TOTALLY forgets to illustrate the genius of the MGM sound (Johnny Green, Saul Chaplin, Miklos Rosa, Alexander Courage to name only a few.) Also, MGM nee Sony's Stage One recording stage - still one of the greatest ever.
Then there's Paramount, RKO, all of the Warner Bros. composers that go unmentioned and uncelebrated. This HUGE gap in the story of the film composers is evidence that Schrader was pandering to his heroes and showing his limited knowledge of the subject matter in the long view.
Without the inclusion of the heart of the story, this movie gets a 5.
Schrader - DO YOUR HOMEWORK!
Filmmaker Matt Schrader skips from silent films over the most important film composers and arrangers of the 1930's, 40's and 50's - the same composers that the current crop stand on the shoulders of often without knowing it.
Schrader's greatest sin is that he barely touches on Alfred Newman and Max Frickin' Steiner, only brushes on Bernard Herrmann and then TOTALLY forgets to illustrate the genius of the MGM sound (Johnny Green, Saul Chaplin, Miklos Rosa, Alexander Courage to name only a few.) Also, MGM nee Sony's Stage One recording stage - still one of the greatest ever.
Then there's Paramount, RKO, all of the Warner Bros. composers that go unmentioned and uncelebrated. This HUGE gap in the story of the film composers is evidence that Schrader was pandering to his heroes and showing his limited knowledge of the subject matter in the long view.
Without the inclusion of the heart of the story, this movie gets a 5.
Schrader - DO YOUR HOMEWORK!
The complete package, a good look inside the process of movie scoring.
jfrfilm7 October 2017
If you love movies and love the music of the movies, then this film is for you! First of all, a lot of great music here and there as examples, and the interviews with top composers are very informative. There is a little bit of film history woven in, and of course film music history, too. This film really hits all the bases. I'm an indie filmmaker/composer in development myself, and already knew many of these things in the film, but the film was still very informative and inspiring to me! If you have any interest in movies and music, this film may just "suck you in" and keep you watching!
It covers also about the psychology of music in film, why and how the music does what it does - to create or enhance a mood and help guide the audience towards the intended purpose of the filmmakers. And then there is also a lot of info about specific films and how they decided what kind of style and sound they wanted. And some info about the technical processes also, how they work in the recording sessions, and during editing of the movies.
It covers also about the psychology of music in film, why and how the music does what it does - to create or enhance a mood and help guide the audience towards the intended purpose of the filmmakers. And then there is also a lot of info about specific films and how they decided what kind of style and sound they wanted. And some info about the technical processes also, how they work in the recording sessions, and during editing of the movies.
A Must See if You Love Music and Movies
TigerHeron25 June 2017
A fairly comprehensive documentary about composers of music scores, their process in working with directors, their relationship with musicians and their reactions to the finished product. The film focuses somewhat on Jerry Goldsmith, John Williams and Hans Zimmer (who speaks quite a bit in the film and is amusing) but many other composers are included. The changing nature of film scores over time is explored. A film historian and a psychologist also make appearances. One of my favorite parts looked at different instruments that have been used in soundtracks. I will probably be paying a lot more attention to the score in films I see in the future!
Too much John Williams
jthaule12 April 2021
Sure, he wrote some very important scores, but he's not the Messiah. There's so much stuff they left out to include one more score by Williams.
Otherwise, it's good and informative and I love how it goes into the psychology of music and some film theory.
Otherwise, it's good and informative and I love how it goes into the psychology of music and some film theory.
A great documentary about film music
amo_mdd25 September 2018
This was a very interesting and enjoyable documentary about the history, evolution and current status of film music and scoring. It gives tribute to many pioneers of the genre, composers who either set standards or started new directions. It spends the middle part on some great film composers and their best works (fans of Goldsmith and Williams will be happy for sure) and ends with some modern composers and the newest and latest directions of film scoring. Many details of the demanding processes that take place during the whole score recording and production are also presented during the documentary.
I also liked that it was directed to both casual viewers and more passionate aficionados of film music, though in the latter case many will find omissions and gripes to complain about. In my case, (and the reason I took off 1 point in my rating) is that it didn't have any single mention of Basil Poledouris and Vangelis and hardly mentioned John Barry. These are some of my favorite composers, who I think were also pioneers in their own way and failing to present them is a serious mistake in my opinion.
That said, this is still an amazing documentary that any kind of movie fan or music lover should watch.
Watch this with the volume way up... it sounds incredible!
garethcrook18 May 2018
Okay so a documentary about film scores sounds a bit dry and boring right? Well you'd be very wrong, it's fantastic! A real insight into a world that moves us, toys with us, helps us experience films in a way that we simply couldn't do without music. Hans Zimmer is a revelation. Talking about the excitement of creating and the fear of getting started, what am I doing? Can I do this? It's fun too though, The Pink Panther, James Bond, The Good, The Bad and the Ugly, music that makes you smile, that transports you. Bernard Herrmann's work with Hitchcock, moving away from tunes into something so much more. The way music can enhance and even be a character in itself or simply provide a skeleton for the visuals to flesh out. There are some downsides, James Cameron proving once again what an uncultured moron he is, but really it's a celebration of musicians, of composers, of studios, the technicians, of film and emotion. There's a wonderful feel of play to the whole thing. That music needs wiggle room and shouldn't, can't be perfect, it needs space. "If everyone in the orchestra hit the same note on the page, it would sound terrible. It would be like putting auto-tune on Etta James. It would take all the soul out of it". Yes there's a lot of the expected Williams, Zimmer, Elfman, Newman, but most of this is narrated by the non superstar composers working today and there's definitely the suggestion that things are once again changing with people like Reznor, Greenwood, Mansell working today. Making the whole thing very positive, not just a golden age nostalgia fest, the future is just as exciting. Oh and needless to say, watch this with the volume way up... it sounds incredible!
Great doc for both film buffs and soundtrack nerds
don-franks11 January 2019
This documentary started with silent films which were accompanied by piano or organ. But this doc didn't limit itself to orchestral scores only. It covered integration of unusual instruments, composers who worked in other disciplines (folk, rock, etc.). Along the way, several film composers were interviewed (Max Steiner, John Williams, Randy Newman). Examples of familiar soundtracks were played under the films which they helped make successful ('Rocky', "Star Wars') as well as early examples ('Vertigo' "The Good, The Bad and the Ugly').
Score: A Film Music Documentary
jboothmillard24 February 2020
Warning: Spoilers
Being a cinephile (huge film fan and buff), I knew this was exactly my kind of documentary film, probably a subject long overdue to be talked about, and an integral component of cinema. When motion pictures were first introduced in 1895 by the Lumière brothers, their short films, and all that followed after, were completely silent. But in screenings, there was often an organ, piano of custom-built instrument, including ones with sound effects, played during films. It was only in the 1900s that a film was produced with a totally original film score composed and added to the soundtrack. Since then, film scores have changed and evolved over the years, from films using simple instrument scores, to those with an orchestra, those with electronic and technological innovations, and those created by famous pop/rock musicians and producers. This film also examines the many techniques and components that go into producing a film score, from the arrangement of notes, the instruments used (percussion, strings, winds etc), the motif (a recognisable sequences of bars) and much more. There is a lot of mention of how music from these many films has been used in popular culture, and the Academy Award success these scores have had. Of course, this film also celebrates the works of some of the most recognised composers in Hollywood, and the films that stand out in their career. Composers that are mentioned, and that contribute during the film (that are living), include: David Arnold (Stargate, Independence Day, Casino Royale), John Barry (James Bond films, Out of Africa, Dances with Wolves), Tyler Bates (Dawn of the Dead, 300, Halloween, Watchmen, John Wick), Christophe Beck (Cheaper by the Dozen, The Muppets, Frozen), Marco Beltrami (Scream, 3:10 to Yuma, The Hurt Locker, Logan, The Gunman), Bill Conti (Rocky, For Your Eyes Only, The Right Stuff), Mychael Danna (The Ice Storm, Capote, Little Miss Sunshine), John Debney (Liar Liar, The Emperor's New Groove, The Princess Diaries, Sin City), Alexandre Desplat (The Queen, The King's Speech, Zero Dark Thirty, The Shape of Water), Patrick Doyle (Gosford Park, Harry Potter and the Goblet of Fire, Thor), Danny Elfman (Batman, Edward Scissorhands, The Nightmare Before Christmas, Men in Black), Michael Giacchino (The Incredibles, Mission: Impossible III, Star Trek, Up), Elliot Goldenthal (Batman Forever, Frida, Public Enemies), Jerry Goldsmith (Planet of the Apes, The Omen, Alien, Total Recall, Basic Instinct), Harry Gregson-Williams (Shrek, Phone Booth, The Equalizer), Bernard Herrmann (Citizen Kane, Vertigo, Psycho, Taxi Driver), James Horner (Aliens, Legends of the Fall, Braveheart, Apollo 13, Titanic) (Horner sadly passed away during the making of this documentary), Steve Jablonsky (The Island, Transformers, Lone Survivor), Henry Jackman (Monsters vs. Aliens, Kick-Ass, Captain Phillips), Quincy Jones (In the Heat of the Night, The Italian Job, The Color Purple), Junkie XL (300: Rise of an Empire, Mad Max: Fury Road), Dario Marianelli (Pride & Prejudice, V for Vendetta, Atonement, The Boxtrolls), Ennio Morricone (The Good, the Bad and the Ugly, Once Upon a Time in the West, The Untouchables, The Hateful Eight), Mark Mothersbaugh (Rugrats, Rushmore, The Royal Tenenbaums, Cloudy with a Chance of Meatballs, The Lego Movie), David Newman (The Nutty Professor, Anastasia, Ice Age), Randy Newman (Parenthood, Toy Story, Monsters, Inc.), Thomas Newman (The Shawshank Redemption, American Beauty, Finding Nemo, Skyfall), Alex North (A Streetcar Named Desire, Cleopatra, Who's Afraid of Virginia Woolf?), Heitor Pereira (Despicable Me, The Smurfs), Rachel Portman (Emma, The Cider House Rules, Chocolat), John Powell (Face/Off, The Bourne Identity, Happy Feet, How to Train Your Dragon), Trevor Rabin (Con Air, Armageddon, Deep Blue Sea), Trent Reznor (Nine Inch Nails musician - The Social Network, The Girl with the Dragon Tattoo, Gone Girl), Atticus Ross (The Social Network, The Girl with the Dragon Tattoo, Gone Girl), Howard Shore (The Silence of the Lambs, The Lord of the Rings, The Aviator), Max Steiner (King Kong, Gone with the Wind, Casablanca), Brian Tyler (Eagle Eye, The Expendables, Thor: The Dark World), John Williams (Jaws, Star Wars, Close Encounters of the Third Kind, Superman, E.T. the Extra-Terrestrial, Indiana Jones, Jurassic Park), Christopher Young (Species, The Hurricane, The Grudge, Drag Me to Hell), and Hans Zimmer (The Lion King, Gladiator, Pirates of the Caribbean: The Curse of the Black Pearl, The Dark Knight, Inception). With contributions from Jon Burlingame (film historian), James Cameron, George Lucas, Leonard Maltin (film historian), Garry Marshall, Moby, Christopher Nolan, and Steven Spielberg. It was interesting to see everything that goes into this part of filmmaking, the opinions of those with experiences and experts of film, and of course hearing all the great music is most enjoyable, a worthwhile documentary. Very good!
Very interesting documentary about film music
Red-12515 March 2018
Score: A Film Music Documentary (2016) was written and directed by Matt Schrader. The film featured dozens of people who have written, directed, and played music for movies. These included Hans Zimmer and Danny Elfman, but there were many, many more.
Often, we don't even notice the music playing during a film. Or else we somehow believe that the music just arrived in the movie. There it is--we listen or not depending on how loud it is or how beautiful it is.
Of course, some film music has become popular in its own right. Figure skaters still perform to Tara's Theme, or the 007 theme, or the music from Dr. Zhivago, years after the films have somewhat faded from our mind.
Still, cinema is a visual medium, and we don't think much about the music when we're watching the movie. The music is "just there." Except that it isn't. Score documents the immense effort and cost involved in bringing music into the films.
I recommend this movie because I think that you'll learn quite a bit, as I did. Also, the film made me more conscious of the music we hear every time we go to the movies, or watch a film on the small screen. Also, it will work very well on the small screen.
Often, we don't even notice the music playing during a film. Or else we somehow believe that the music just arrived in the movie. There it is--we listen or not depending on how loud it is or how beautiful it is.
Of course, some film music has become popular in its own right. Figure skaters still perform to Tara's Theme, or the 007 theme, or the music from Dr. Zhivago, years after the films have somewhat faded from our mind.
Still, cinema is a visual medium, and we don't think much about the music when we're watching the movie. The music is "just there." Except that it isn't. Score documents the immense effort and cost involved in bringing music into the films.
I recommend this movie because I think that you'll learn quite a bit, as I did. Also, the film made me more conscious of the music we hear every time we go to the movies, or watch a film on the small screen. Also, it will work very well on the small screen.
Not bad but ...
winstonnc8 September 2017
"Score" is not a bad overview of film music history and craft, albeit somewhat simplistic ... and some folks here, perhaps inadvertently, say things that are obvious or pretty stupid. Is there a single reference here to Erich Wolfgang Korngold? I think not. Instead Steiner and Newman get too much credit that symphonic sound in films forged in the 1930s. But what mostly irritated me was the film's way of equating of today's film composers with the masters of yesteryear. Most of them aren't worthy to shine their shoes.
Shallow
davidmvining22 November 2019
I've always loved film scores. Orchestral works that utilize themes and a large collection of musicians that go along with the action on screen but also work independently has been the kind of music I've listened to almost exclusively my whole life. I wish it got a better documentary than this.
It's not really bad, but it's wildly unfocused. The documentary has four sections of interest: the history, the process, the techniques, and the personalities. The movie is more than the sum of its parts because I think each section is bad unto itself (shallow and uninformative) but overall the documentary has a salubrious effect on the mind. It's slickly made, is what I'm trying to say.
So, the first thing it does is try to cover some history. From the earliest theater organs to the modern use of rock stars to write scores (instead of just sourcing their music), the movie skips through Max Steiner, Bernard Herrmann, and a few others with words of appreciation from modern day composers and little else. There's some talk here and their about their importance, but it doesn't dig deep enough. Honestly, unless you're going to spend two hours exploring the history of the art form, leave this out completely.
The second part is the process. This was probably the most interesting, and the one that got interrupted the most and was told the most out of order. There's no real structure to the film (which is a bit ironic since some of the composers interviewed talk about structure being important), so we start with one experiment, go through sound booths and conduction, before they ever talk about basic composition. And even then, it's thin gruel. There is a semblance of structure in the fact that we end on sound mixing the score, but, again, it's thin.
The third part is technique. Here we see composers talk about their collections of weird instruments and see some demonstrations of some of them. There's no talk about the thinking behind adding them to compositions other than they're different sounds. Again, thin.
The last is the personalities, where the movie spends most of its time. There's a solid 35 minute or so block that's just composers talking about Jerry Goldsmith, John Williams, Danny Elfman, and Hans Zimmer. They don't dig into influences, techniques, or anything interesting. The movie just lets the composers talk about how awesome these guys are while we hear their music and watch clips from their most famous movies. It's pure hero worship.
Overall, I like it better than the above implies. The overall package is inviting and enjoyable in a superficial way, but if the object of the documentary was to inform in any way, I think it failed. I would have loved to see 90 minutes that actually explored one composer's journey from blank sheet music to final screening with snippets of the composer's thoughts on the history of film music, his influences, and techniques. That would have a been a more interesting journey to take. Instead, we got this mishmash that was enjoyable enough, but shallow.
It's not really bad, but it's wildly unfocused. The documentary has four sections of interest: the history, the process, the techniques, and the personalities. The movie is more than the sum of its parts because I think each section is bad unto itself (shallow and uninformative) but overall the documentary has a salubrious effect on the mind. It's slickly made, is what I'm trying to say.
So, the first thing it does is try to cover some history. From the earliest theater organs to the modern use of rock stars to write scores (instead of just sourcing their music), the movie skips through Max Steiner, Bernard Herrmann, and a few others with words of appreciation from modern day composers and little else. There's some talk here and their about their importance, but it doesn't dig deep enough. Honestly, unless you're going to spend two hours exploring the history of the art form, leave this out completely.
The second part is the process. This was probably the most interesting, and the one that got interrupted the most and was told the most out of order. There's no real structure to the film (which is a bit ironic since some of the composers interviewed talk about structure being important), so we start with one experiment, go through sound booths and conduction, before they ever talk about basic composition. And even then, it's thin gruel. There is a semblance of structure in the fact that we end on sound mixing the score, but, again, it's thin.
The third part is technique. Here we see composers talk about their collections of weird instruments and see some demonstrations of some of them. There's no talk about the thinking behind adding them to compositions other than they're different sounds. Again, thin.
The last is the personalities, where the movie spends most of its time. There's a solid 35 minute or so block that's just composers talking about Jerry Goldsmith, John Williams, Danny Elfman, and Hans Zimmer. They don't dig into influences, techniques, or anything interesting. The movie just lets the composers talk about how awesome these guys are while we hear their music and watch clips from their most famous movies. It's pure hero worship.
Overall, I like it better than the above implies. The overall package is inviting and enjoyable in a superficial way, but if the object of the documentary was to inform in any way, I think it failed. I would have loved to see 90 minutes that actually explored one composer's journey from blank sheet music to final screening with snippets of the composer's thoughts on the history of film music, his influences, and techniques. That would have a been a more interesting journey to take. Instead, we got this mishmash that was enjoyable enough, but shallow.
humming along
ferguson-613 June 2017
Greetings again from the darkness. Some people remember movies by recalling the story
others by picturing the actors
still others by crediting the writer and director. Surprisingly, it's the film's music that we subconsciously carry with us. Even years later a theme song can trigger an emotional tie to our favorite movies. The magic of movies and their scores are so inter-connected that you often can't think of one without the other: Jaws, Star Wars, The Magnificent Seven, The Good, The Bad, and The Ugly, Psycho, Gone with the Wind, James Bond, Batman, Titanic, Chariots of Fire, and Jurassic Park (to name a few). Chances are, just reading that list caused you to hear the themes!
Director Matt Schrader, in his directorial debut, takes us back to the beginning by explaining that silent films were never really silent. There was invariably live or recorded musical accompaniment to help muffle the sound of the projector. But it was Max Steiner's score for King Kong in 1933 that really changed the game. His music transformed that film from a schlocky special effects B-movie into a tense, thrilling cinematic experience.
This is so much more than a history of important and beautifully written scores. Director Schrader interviews most of the well-known film composers working today. He gains insight into their writing process, commentary on the ground-breakers who came before them, and uncovers how technology, new instruments, new styles, and a different approach are always in the works.
Some of those interviewed include Rachel Portman (the only female composer included here), Randy Newman, Danny Elfman, Atticus Ross and Trent Reznor, and Thomas Newman (son of Alfred). There is also a well-deserved segment reserved entirely for the great John Williams, and we get reminded of the revolutionary composers like Jerry Goldsmith (Planet of the Apes, Chinatown) and Bernard Hermann (Psycho), as well as Henry Mancini (The Pink Panther), Monty Norman (James Bond), and Ennio Morricone (classic westerns). A quick segment that proves quite entertaining focuses on Mark Mothersbaugh (formerly of Devo) telling the story of how he used a toy piano for the score of Rugrats, but regrettably no longer has possession of the little piano anymore.
Oscar winning composer Hans Zimmer is a recurring voice throughout and provides some structure to the numerous interviews and segments. It's quite humorous to see this highly accomplished, world-renowned composer in his early days as a keyboardist for The Buggles' "Video Killed the Radio Star" (the first video played on MTV). More importantly, Mr. Zimmer discusses the insecurities and pressures that go along with the job, and how change (such as his aggressive sounds) isn't always welcomed openly.
The technical aspects of creating the score are certainly not ignored. We get a glimpse inside Abbey Road Studios, and how thrilling it is for a composer to hear the live orchestra bring his or her music to life that first time. It also serves as a reminder that film composing employs a significant number of the live orchestral musicians working today, and that we all hope technology doesn't replace that imperfect beauty of the real thing.
Adding a scientific perspective was a nice touch. Learning that our brains respond to movie music in a similar manner to chocolate and sex made a great deal of sense, as I've often wondered if film scores are more manipulative or complementary in nature. If there is a disappointment in the film, it's that the recently deceased James Horner seems woefully short-changed, with only a brief post-credits segment featuring director James Cameron who, as usual, spends the time talking more about himself than the impact of Horner. This documentary is a must for movie lovers and music lovers, and on a personal note, made me miss my friend Adam very much. He would have certainly enjoyed this one and had a great deal to say about it.
Director Matt Schrader, in his directorial debut, takes us back to the beginning by explaining that silent films were never really silent. There was invariably live or recorded musical accompaniment to help muffle the sound of the projector. But it was Max Steiner's score for King Kong in 1933 that really changed the game. His music transformed that film from a schlocky special effects B-movie into a tense, thrilling cinematic experience.
This is so much more than a history of important and beautifully written scores. Director Schrader interviews most of the well-known film composers working today. He gains insight into their writing process, commentary on the ground-breakers who came before them, and uncovers how technology, new instruments, new styles, and a different approach are always in the works.
Some of those interviewed include Rachel Portman (the only female composer included here), Randy Newman, Danny Elfman, Atticus Ross and Trent Reznor, and Thomas Newman (son of Alfred). There is also a well-deserved segment reserved entirely for the great John Williams, and we get reminded of the revolutionary composers like Jerry Goldsmith (Planet of the Apes, Chinatown) and Bernard Hermann (Psycho), as well as Henry Mancini (The Pink Panther), Monty Norman (James Bond), and Ennio Morricone (classic westerns). A quick segment that proves quite entertaining focuses on Mark Mothersbaugh (formerly of Devo) telling the story of how he used a toy piano for the score of Rugrats, but regrettably no longer has possession of the little piano anymore.
Oscar winning composer Hans Zimmer is a recurring voice throughout and provides some structure to the numerous interviews and segments. It's quite humorous to see this highly accomplished, world-renowned composer in his early days as a keyboardist for The Buggles' "Video Killed the Radio Star" (the first video played on MTV). More importantly, Mr. Zimmer discusses the insecurities and pressures that go along with the job, and how change (such as his aggressive sounds) isn't always welcomed openly.
The technical aspects of creating the score are certainly not ignored. We get a glimpse inside Abbey Road Studios, and how thrilling it is for a composer to hear the live orchestra bring his or her music to life that first time. It also serves as a reminder that film composing employs a significant number of the live orchestral musicians working today, and that we all hope technology doesn't replace that imperfect beauty of the real thing.
Adding a scientific perspective was a nice touch. Learning that our brains respond to movie music in a similar manner to chocolate and sex made a great deal of sense, as I've often wondered if film scores are more manipulative or complementary in nature. If there is a disappointment in the film, it's that the recently deceased James Horner seems woefully short-changed, with only a brief post-credits segment featuring director James Cameron who, as usual, spends the time talking more about himself than the impact of Horner. This documentary is a must for movie lovers and music lovers, and on a personal note, made me miss my friend Adam very much. He would have certainly enjoyed this one and had a great deal to say about it.
Really entertaining AND informative
bgsrule7 May 2017
Fair disclosure: I'm a Kickstarter backer and I know one of the filmmakers. Having said that, I love movies and I've always been into the music that makes them tick, and this gets into the nitty gritty of how movie scores came to be and how they have evolved over the years. The interviews with many big-name composers are fascinating in that we learn about how they do what they do, how they work with directors and orchestras, and in many cases, how they went from what they used to do to scoring movies. It's a quick and breezy and uber-interesting 90 minutes that includes people and scores you'd expect and some you probably wouldn't, but are happy to see. There are one or two places where the music is a bit louder than the spoken word, and there are a couple instances where it would be really great to see the scores, while they're being orchestrated, in context of the movies they become part of. But I quibble. Everything here is right up my alley and I thoroughly enjoyed it.
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