#1 New York Times Bestselling Author & TV Producer
I think that was the longest minute of my life.
I’d watch it just to see Tom Atkins.
Why is it the most unremarkable shows have the most unremarkable music? Is it because there’s nothing there for the composer to work off, or is it because the same unremarkable person is making all the decisions?
Do title composers get to see footage, or do they have to just go on what they’re told?
In my experience, Keith, the composer can at least see the first few episodes and perhaps some of the graphics we intend to use in the main title. In most cases, though, the main title sequence is cut to the music, so it’s not possible for the composer to see it first.
I have worked on a couple of series, though, where the main title theme was commissioned after the pilot but before the episodes were shot or where pre-existing songs were licensed and then edited to match the timing of the main title.
Can there be any back-and-forth between the composer and the editor, or whoever’s designing the sequence?
You know, where the composer says, “I was thinking of holding a note here for a few beats,” and the editor says, “Hey, you know, that would work, because I was thinking of doing a fast-cut montage. Can you make that held note exactly 00:01:25 long?”
Or am I dreaming?
No, that has happened, at least on the shows I have worked on…
Hey, I LOVED the theme music. It sounded much better than the show looked.
Honestly, I like the theme music too!
It’s an Elmer Bernstein composition, if I’m reading my Google results correctly. I think Bernstein was amazing–I mean, MAGNIFICENT SEVEN? FAR FROM HEAVEN?–but to me, this sounds phoned in.