In a panel that at times resembles a late-night ramble and conversation, three film music professionals discuss changes in their industry, with some no-holds-barred dishing and kvetching. Martin Marks sets the scene historically, starting with the revolutionary introduction of sound to film. He plays a clip from the original 1933 film King Kong, which he describes as both a technological and aesthetic landmark of soundtrack production. Paul Chihara continues the story, explaining that the score’s creator, Max Steiner, was part of the first wave of film composers, classically trained musicians, fleeing Hitler’s Germany. Steiner drew on the music he knew best, the kind performed by the Vienna Staatsoper, for his King Kong score, so we get a movie that’s “wall to wall music, filled with leitmotifs,” played by a giant orchestra. Cut to 2005, and the Peter Jackson remake of King Kong. In what he describes as “an electro-acoustic seminar on how digitally sound is enhanced,” Chihara plays several clips of the same scene that demonstrate the evolutionary leap in soundtrack scoring since 1933. The process involves the demo track, a score with digital sampling and no acoustic instruments intended to help the filmmaker imagine how music will work with the film; next an acoustic score; and the final dub version, where acoustic and digital music sources combine, and the rest of the sound elements are added in post production (dialogue and sound effects). The new scoring process can prove dangerous to composers, as Dan Carlin reveals. “We have a term called ‘demo love,’ describing how the director gets attached to the very first track offered by the composer.” This is a digitally sampled score often drawn from other composers’ work. The editor and director become accustomed to it, and test audiences watch films with demo tracks. “So the composer comes in with a new approach, and often gets fired at this point.” This has led to composers fearful of originality. Carlin says sta...