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Are there things you can write in a film score that you can’t write for the concert hall?

Paul Chihara, Laura Karpman, Douglas J. Cuomo, and Roger Treffouse explain their different (or not so different) compositional approaches.

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	Paul Chihara “…In Hollywood, I became accustomed to hearing “We want it yesterday,” whereas in the concert world, a year to fulfill a commission was not uncommon…”
	Douglas J. Cuomo “…I’m not sure there is anything that one could write for concert music that couldn’t be writing for film music, or vice versa…”
	Laura Karpman “Composing for film is probably most closely related to composing an opera…”
	Roger Tréfousse “Concert pieces are like oil paintings…A film score has to be written very quickly, so it’s closer to painting in watercolor…”

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