Score

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.

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.

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.

'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

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!