Director Matt Schrader Offers A Look Into ‘SCORE: A Film Music Documentary’

Have you ever wondered why certain film scores stick in your head? Have you ever found yourself humming the bars from Jaws, more terrified by John Williams‘ iconic two-note motif than the (robotic) shark which hunted Roy Scheider and the citizens of Amity Island? So much of that has to do with the craft, and, moreover, the creative skill of the composer.

For example, how easily can you recall the theme to Back to the Future?…that was Alan Silvestri. Your kids love the infectious sound/songs of Frozen?…then thank Christophe Beck. You ever imagine yourself as the Caped Crusader and instinctively hum the theme to Batman or The Dark Knight?…give Danny Elfman and Hans Zimmer a round of applause. Truth be told, there’s always more than just one person to credit. In fact, a whole team stands behind the record/CD/MP3s you may have on endless repeat.

While there’s nothing scientific that can answer the questions above, director/producer Matt Schrader and his team have put close to two years into this one-of-a-kind documentary that may be the first to get close to anything resembling an explanation. Compiling input from more than 60 composers, industry professionals, and authoritative film music aficionados, this doc shines a light on the people behind some of cinema’s most beloved and influental themes.

Talking to Matt, we essentially walked into his kitchen while he was still cooking this definitive doc – one which gets inside the mind of Doyle, Jackman, Jablonsky, Gregson-Williams, and plenty others. We have no idea what the end product will be when SCORE: A Film Music Documentary is released later this year, but all we can say is that things smelled really enticing. Enjoy the entirety of our time with Matt.

GoSeeTalk: We’re excited to talk to you, Matt, because you’re doing a documentary about two of my favorite things: movies and movie music. Give us a SCORE State of the Union. What’s happening at the moment?

Matt Schrader: We’ve got a variety of things we are working on both front of house and back of house, so, just to be safe, and put out the best product possible, we will be pushing our official public release date a little bit to the Fall. That will allow us to include the final and remaining interview subjects that have agreed to be part of the film, but have yet to sit down with us. That’s one of the reasons we had the first delay. The post-production process is something else which takes a little care, especially now that we found the people we want to work with.

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