IMDb RATING
7.5/10
4.9K
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A look at the cinematic art of the film musical score, and the artists who create them.A look at the cinematic art of the film musical score, and the artists who create them.A look at the cinematic art of the film musical score, and the artists who create them.
- Awards
- 7 wins & 2 nominations
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- Quotes
Leonard Maltin: Music has the ability to shape and in some cases alter or even subvert what the filmmaker is communicating.
- ConnectionsFeatures King Kong (1933)
Featured review
One of the best documentaries I've had the pleasure of watching...
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.
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.
helpful•92
- bryanalford
- Oct 7, 2017
- How long is Score?Powered by Alexa
Details
- Release date
- Country of origin
- Official sites
- Language
- Also known as
- Score: A Film Music Documentary
- Filming locations
- Los Angeles, California, USA(location)
- Production company
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $101,382
- Opening weekend US & Canada
- $8,088
- Jun 18, 2017
- Gross worldwide
- $184,025
- Runtime1 hour 33 minutes
- Color
- Sound mix
- Aspect ratio
- 1.78 : 1
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