Background music adds so much to movies. Just ask Tom Hoover, whose terrific website, ScoreNotes.com, includes a wealth of information about this topic. Tom was kind enough to answer my questions concerning his site -- and more -- in the revealing e-mail interview below.   

What motivated you to create ScoreNotes.com?

Many times, the music in a film is often overlooked by the mainstream media even though the soundtrack is one of the more important elements in a production.  I wanted to bridge this gap in some small way so I set out to develop a site where composers would have a forum to discuss their work and share a bit of their background with their fans.

Aside from the interviews, I have a genuine passion to express my views on what works and what doesn't when it comes to film music.  I also take great joy in sharing works of excellence through an ongoing series of Film Music Suites that I stream on the site. 

In all, my appreciation for movies and their scores keeps me driving onward.

Which movie soundtracks are your favorites and why?

I would have to start with the work of Miklos Rozsa in El Cid.  As epic as it gets, Rozsa's work remains as bold and ambitious today as it was back in 1961 when this score was first heard. From its moving love theme to the rousing fanfares, I can't think of a better score to list as one of my top selections.

Going back even further, Sergei Prokofiev's masterful Alexander Nevsky is also a favorite of mine. Listening to the music, it's easy to hear how Prokofiev inspired a generation of composers with his writing for Nevsky, with echoes that can be heard all the way over to a score like Conan the Barbarian some 40+ years later.  And speaking of Conan...

Basil Poledouris' Conan the Barbarian is a mighty and creative effort that's on par with anything I deem great when it comes to film music. Poledouris' knack for melody and innovation is on full display with this score and makes for a listening experience that stands the test of time. 

These are just a few examples, but if I had to start the discussion about my favorites, the soundtracks I just mentioned would lead the discussion.

Who are your favorite film composers?

Without a doubt, John Williams and Miklos Rozsa are tied for the top slot on this list. Words can't really do their work justice. Following these two legends, I would say Jerry Goldsmith, Michael Giacchino, and Joe Hisaishi are also near the top ranking.  I'm also keeping a watchful eye on Murray Gold these days as his music for Dr. Who is absolutely groundbreaking.

Do you have a musical background?  

Aside from a few music lessons in the fifth grade, none whatsoever! 

Why is background music so important to feature films?

Simply put, without music, a film can't function.  Not in an enjoyable sense, at least. A proper score establishes the tone of a film, links the emotions to the performances, and heightens the impact of a scene (or story, in a grander sense). Without the score, there can be no goosebumps in the audience.

What are some examples of films in which background music has been misused?  

The first example that comes to mind is Ennio Morricone's score for Mission to Mars. Not that it was the worst score ever, rather, the dated material simply sounded like it belonged in some sort of a low budget 1970s sci-fi movie. Suffice it to say, the music was a couple decades too late and it made a bad movie even worse!

Another example, and this one is more recent, is David Julyan's The Prestige.  Flat, sparse, and without a note of style, this is a soundtrack that has no redeeming quality in the film and is even less engaging on disc. 

Lastly, and this isn't for a particular film per se, when James Horner gets into his self-repeating mode I find myself completely distracted with the movie I'm watching. To hear a theme from any number of movies he previously worked on appear in the movie I'm watching makes for sheer frustration.  For a brilliant composer, his repetition is inexcusable.

What are your three all-time favorite movies and why?

1) Spartacus: The source of inspiration for a host of similar movies (including Ridley Scott's Gladiator), this is a film that strikes every note perfectly for me. In fact, this is the one movie I'm sure to watch at least once a year. I really appreciate the scope and themes of this picture and feel that this was Kubrick's greatest work. 

2) The Empire Strikes Back: While Star Wars lit the fire, its sequel delivered the ultimate thrill with the cliffhanger ending. Still the finest entry in the series and one of the best sci-fi films of my generation, I think this movie showed that a summer blockbuster can indeed offer a legitimate story. Plus, it debuted the “Imperial March.” What's not to love?

3) Goodfellas: For my money, Goodfellas is the most entertaining movie from the mafiosa genre and should be considered an all-time great. I love the manner in which Scorsese's underworld opus crackles with energy, edge and humor. The performances are addicting to watch and the way the music was employed is tremendously effective. This one never grows old for me.

INTERVIEWER'S NOTE: Anyone interested in learning more about film music should make frequent visits to  www.ScoreNotes.com. It’s one of my favorite movie sites!

(Poster of El Cid DVD cover: © 2008. The Miriam Collection. All Rights Reserved.)