1. My first questions is that when some of you complain about a score and
say it is just “wallpaper,” are you saying that it makes no statement?
It just is. It exists without contribution or may actually detract from the
film?

2. Secondly should all film music make a statement?

3. I’d like to see some examples of statements filmscores make. I think we all
know the obvious ones such as emotional scoring. Love, anger, sadness, hate,
loneliness etc. are all often in the underscore. Character motifs are often utilized
such as in Once Upon A Time in the West. Each of the main characters had his/
her own motif. I enjoy statements that play against the visuals for various reasons
such as parody, satire, irony or exaggeration of the picture. (Alex North said
he scored against the picture Who’s Afraid of Virginia Woolf and used
a “quasi-baroque feeling, one that would play against the picture and
suggest that these people basically had something going for them despite
the fact they were haggling and fighting.” Now that has got to be tough
for a composer.

Yesterday I watched The Burbs and was delighted with Goldsmith’s satirical
approach. At times he scored with a straight comedic touch that matched the
scenes and tone. When the three men walked down the street to confront their
ODD neighbor, he did a parody of the spaghetti westerns utilizing a Morricone
pastiche. Bruce Dern’s character merited an exaggerated militaristic march.
Hanks staggered out of the burning house to an heroic theme. Wonderful use
of irony and satire.

Another movie I watched this week was Valdez in Coming. (I miss Lancaster.)
To heighten the pathos of his journey on the cross, Gross employed an almost
twisted religious theme. Another musical statement he used was for RECALL
or recollection, something I hadn’t thought about in filmscores, but I know
is used often. Half way through the movie, Lancaster looks at an old photograph,
and a military march commences. I knew immediately that he was once trained
in the army even before the audience sees the picture. Past, present and future
declarations are often made by music.

4. “..to add something that isn’t otherwise apparent.” I do think sometimes
composers are forced by directors to add too much to “apparent”
visuals.

Thoughts, examples, perceptions, contributions to the above?

1. Wallpaper music to my mind and ear is something that pretty to listen to, but lacks substance. Stuff like Phillip Glass. he writes some good music, but in teh end, it's just ear candy and trivial. I recognize his improtance in changing American music for a time, but I don't recognize the substance of his musical arguments. Kundun is a fine score, but when I listen, it doesn't connect, and usually the same goes for his classical music. *Notable exceptions include his string quartets, full of grace and emotion.

2. Should film music make a statement? Technically no. But the best film music makes statements about characters and mood, and tells the (or A) story without the visuals. ESB and ROTJ are notable examples.

3. Patton is a score that makes a statement. The main title suggests Patton's perception that he had past lives, and the religious side of the man. Very sparsely scored film, with a score that seems to come in only when the focus is entirely on reflecting the various of Patton. that's what I think anyway.

Some examples that come to mind is Trevor Jones score to Merlin. First off the main theme I feel discribes Merlin himself to a Tee. Even without seeing the film, you know that this is about a powerful, and wonderous person. Also the music in the fantasy like forrest that Merlin walks throught when he's a teenager I feel really paints a beautiful picture of the envoirnment and the magical things in it.

Danny Elfman's score to Instinct.
The main theme of the score I think is leting the audience know whenever an example is being made from Hopkin's characters teachings about mankind and civilization. And I think Elfman pulled it off brilliantly.

Trevor Rabin's recent score to Gone in 60Sec.
The music composed for "Elenor" hints that the car is really amazing and also is able to tell us about Memphis's facination with it and why he likes it before he actually gets to it. The rest of music is "Wallpaper" though :-0

Well I got more examples but 3 is enough.

NP Girl, Interreuted (Micheal Danna)

David Newman's score to Matilda
The music composed for this girl's personality is amazing! It tells the audience about her couriosty, and innosence long before it's explained.

1. One of the composer's goals IS to describe what is happening on the screen through music. The best scores describe the film better than the script or visuals could hope to (case in point: Broughton's Lost In Space.) But no matter what, it's describing or suggesting SOMETHING.

Let's pretend that the film is a room with bare walls, and the composer's job is to cover the wall with images. "Wallpaper" represents the lowest common denominator. It gets the job done: it covers the wall, and hopefully complements the room. But ultimately, it's a series of broad repetetive swathes, purchased in stock, held together with the same glue, designed according to the most basic standards, and unable to support the ambience of the room on its own. With good furniture and a few well-placed portraits, it doesn't do any harm, but ...

Contrast this with "better" scores. The good composer approaches the wall like a canvas. He may paint in broad strokes, he may use a filigree brush; he may use a rainbow of colors, or he may restrict himself to one or two ... but he's painting.

2. Music should make a "statement" when it's appropriate. Any composer worth his baton can write quality and descriptive music that does what it needs to do. What makes a good FILM composer is knowing WHERE to put the music. WHEN to make a statement.

3. Patton is a prime example of this. Jaws is another one. Get the new release and check out what Williams says about conditioning the audience. Unable to adequately portray the shark through physical means, Williams steps in, preying on the audiences expectations, feinting and striking without warning. Steven Spielberg claims Williams' score is clearly responsible for at least half of the film's success.

Tim, you mentioned that Newman’s themes in MATILDA musically informed
you about her innocence and curiosity before these traits were explained. That is
a good point and reminded me of something.
I wonder if any of you remember that at one time ALL motion pictures began
with title, stars name, credits, etc., and that the opening (overture?) always
served as a FORESHADOWING element for the movie. When STAR WARS
begins, you know what type of picture you’re about to see. I watched
JENNIFER 8 today, which did begin with credits and a suspenseful theme by
Young, so I knew I was in for a mystery; however, many movies today
begin immediately with the story, sans titles, credits, and score. I kind of miss
the initial musical score with its portentous abilities.

Wow, Wedge, thanks for so thoroughly explaining the wallpaper metaphor.
Your clarification of that analogy makes perfect sense. Does your wisdom
increase exponentially with each birthday? Of course, your greatest miracle
was rendering Chris mute.