Cover image for Knowing the score : film composers talk about the art, craft, blood, sweat, and tears of writing music for cinema
Knowing the score : film composers talk about the art, craft, blood, sweat, and tears of writing music for cinema
Morgan, David, 1960-
Publication Information:
New York : HarperEntertainment, [2000]

Physical Description:
xix, 313 pages : illustrations ; 21 cm
General Note:
Includes index.
Added Author:
Format :


Call Number
Material Type
Home Location
Item Holds
ML2075 .K58 2000 Adult Non-Fiction Non-Fiction Area
ML2075 .K58 2000 Adult Non-Fiction Central Closed Stacks-Non circulating

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This collection of interviews with Hollywood composers offers the most intimate look ever at the process of writing music for the movies.  From getting started in the business to recording the soundtrack, from choosing a musical style to collaborating with directors, including Martin Scorsese, Stanley Kubrick, the Coen brothers, Terry Gilliam, Kenneth Branagh, and Ken Russell, from learning to deal with editing to writing with time-sensitive precision, the leading practitioners in the field share their views on one of the most important  -- and least understood -- aspects of filmmaking: the motion picture art that's heard but not seen.

Reviews 1

Booklist Review

It has been said that the most highly skilled worker on any movie is the composer of its musical score. Neither the 16 composers nor the film music record producer Morgan interviewed for this book says anything like that, of course, but what they do say leaves no doubt about their skills, professionalism, and intelligence. Morgan distributes their remarks in sections on such topics as getting started in the movie-music business, collaborating with film directors, creating distinctive as well as appropriate music for a film, researching to score historical films, orchestration, adapting pre-existing music, and recording. Morgan presents both montages of several composers' ideas on a subject and longer single-composer interviews on particular working experiences, such as Philip Glass discussing Koyaanisqatsi and Elmer Bernstein on adapting Bernard Herrmann's music for the original Cape Fear to score Martin Scorsese's remake. This is all fascinating stuff, and the only problem with the book is that it makes you want to see the movies it discusses again and this time really listen to them. --Ray Olson