Art Vandelay wrote:
^ Also, the liner notes's author goes out of his way to describe how nice and wonderful Berman was about his criticism of McCarthy's music, and how he basically put on his best cologne and took him out to a sexy night downtown when he broke the news. Seemed a bit ridiculous, s'all.
Well, you're exaggerating, but how do you know it wasn't amiable? I disagree with Berman's views about music as much as you do, but people you disagree with can still be completely reasonable, well-meaning individuals.
pegged it: there's nothing unusual about this. It was McCarthy's job
to do the kind of music that the showrunner told him to do. That's not a matter of controversy or some big melodramatic struggle. It's the way it normally works. You may have big ideas of your own, but if someone is paying you to enact their ideas, then that's what you do. Berman's a professional, McCarthy's a professional, so there's no reason to assume there was any browbeating or hostility involved, anything other than the boss saying "Actually, what I want is this
instead of that
" and the employee saying "I understand now, and I'll work within those parameters from now on."
And sure, naturally the liner notes phrased it in a diplomatic way, and I don't see a problem with that. There's no reason why the liner notes should be some muckraking tell-all book. Where's the benefit in taking a negative view of the very music you're presenting? The compilers of this set chose this music because they thought it was worthwhile. So they're going to focus on what they think is good about it. They acknowledge that the musical approach was guided by the showrunner, but they still think the composers did worthwhile work within those limits and that's what they're going to focus on in their discussion. Why would you expect anything else?