ABSTRACT
This book combines information drawn from the published literature with firsthand accounts from professional orchestrators and composers currently active in the contemporary film industry. Such context is crucial to understanding the role of the orchestrator as it exists in the film-music business, not least because many of the texts that discuss the processes of film music are quite dated. Furthermore there is often an exclusively Hollywood-centric focus that largely overlooks variety in approaches and processes, and orchestration is usually not considered in detail. This chapter begins with an overview of the formulation and construction of the interview schedules used to gather data from professionals, and proceeds with a consideration of the interview participants to establish their place in and experience of the industry.
