SCORE: A Film Music Documentary

In a mere ninety minutes, this documentary attempts to accomplish a number of tasks for which not even a ten-part series would be enough. The main objective seems to have been to map the history of film music, starting with the obligatory declaration that “silent films were never silent” and ending with Zimmer, who appear here in a maroon jacket and striped socks, reminiscing about the legendary composers who influenced him. Other contemporary artists sing the praises of both their predecessors and their living counterparts. In addition to that, they utter phrases such as “music is the heart and soul of film” and try to convince us that the soundtracks of today’s blockbusters are increasingly experimental, whereupon we see a clip of the recording of the music for Minions. OK. Brian Tyler appears in the film as a progressive young artist whose work I find rather excellent evidentiary material for a video essay on the forgettable nature of Marvel movie scores (The Marvel Symphonic Universe). The mention of the crushing deadlines within which some contemporary composers have to complete their work is then wrapped up with the acknowledgment that, thanks to outstanding technology and the professionalism of everyone involved, this is not a problem. Basic concepts such as the musical motif (and the ways it can be used) and the difference between melody and rhythm are explained in very simple terms and we are given a brief presentation of the creation of a soundtrack, from the first meeting with the director to recording in the studio (a fascinating process that deserves its own dedicated documentary). As if the great thematic breadth, leading to even greater shallowness, wasn’t enough, a scientist and Moby (no kidding) discuss what happens in our brains when we listen to music. Though this is a rambling, self-regarding, self-indulgent and marginally revealing documentary (especially if you watch a bit of the bonus material on the DVD or have read the excellent A History of Film Music) that also gives the impression that, with the exception of Morricone, there are no major composers working outside the Hollywood mainstream, it can be accepted as a quick journey through the history of (American) film music. But you would be better off finding videos like “Steven Spielberg and John Williams talk about the soundtracks for E.T. and Jaws” on YouTube, of which only brief examples are used in SCORE. You'll learn a lot more from them. (20.11.2017)

Even though I am not one who can tell by the first few tones what kind of music it is, what kind of film it is, and who wrote it, I still think that music is an absolutely integral and essential part of film. This documentary proves this fact and can draw your attention to what you may sometimes not notice. Music is simply a necessary part of film. (30.01.2018)