ABSTRACT
Ian Christie: You’ve worked with film music from a very wide range of periods – in fact, all the way from resurrecting historical scores such as Camille Saint-Saëns’s L’Assasinat du duc de guise (1908) and Pietro Mascagni’s Rapsodia Satanica (1917), to conducting contemporary scores, such as those by Jonny Greenwood for the films of Paul Thomas Anderson. Along the way, you have also presented film music by many of the Hollywood greats in concerts. Obviously, the role of film music has changed considerably across the “sound period” as a whole since the early 1930s, but do you think it has also changed significantly since, for instance, the time of Bernard Herrmann – who actually wrote for Welles, Hitchcock, and Scorsese? Do modern filmmakers expect different things from composers in terms of making their films “work” as narratives?
