Debbie Wiseman challenges wall-to-wall music in modern films

In the United Kingdom, composer Debbie Wiseman raised concerns about modern film scores during a recent discussion. Wiseman, known for composing the theme for the BBC’s series 'Wolf Hall,' expressed her opinion that contemporary movies often employ continuous music, referring to this as ‘wall-to-wall’ music. She pointed out that such an approach detracts from the emotional impact of the score, making it comparable to elevator music that audiences hardly notice. Her comments highlighted specific films, including 'Oppenheimer,' which won an Oscar for Best Score, the 2021 sci-fi film ‘Dune: Part One’ and its upcoming sequel ‘Dune: Part Two,’ and the Japanese film ‘Godzilla Minus One’. Wiseman indicated that the prevalent use of continuous music throughout these films renders it ineffective, overshadowing dialogue and diminishing its intended emotional engagement. Wiseman further elaborated on her collaborative process when composing music for 'Wolf Hall.' She emphasized the importance of timing and balance in her work, aiming to enhance rather than overpower the dialogue. Her method involves working closely with director Peter Kosminsky and the editor to determine the right moments for music to accompany the scenes, ensuring that it augments the storytelling without becoming distracting. This thoughtful approach is credited as a significant factor contributing to the series' success and its acclaimed soundtrack, which topped classical charts in 2015. Debbie Wiseman's reflections serve as a reminder of the evolving nature of film scoring and the critical role music plays in conveying narrative and emotion. With the landscape of cinematic scoring continually changing, her insights prompt discussions on how best to utilize music for maximum impact while preserving the integrity of the film experience, allowing audiences to fully appreciate both the score and the dialogue. The music for the second series of 'Wolf Hall' is set to be released on December 13, suggesting that Wiseman continues to be an active participant in shaping the auditory landscape of contemporary television.