TV & Film
Howard’s TV Themes
Many people have sung Howard’s choral and stage music; many more have seen him presenting Choir of the Year or his own Howard Goodall’s Big Bangs/ Organworks/ Choirworks/ Great Dates/ 20th Century Greats series on TV. Some people, however, are not aware that they know of Howard Goodall…
…Until, that is, his TV theme tunes are mentioned… The composer of the theme music to Blackadder, Mr. Bean, Red Dwarf, Q.I., The Catherine Tate Show and The Vicar of Dibley to name but a few, almost everyone can sing at least one tune that Howard has written.
Some other TV themes by Howard include: Country Parish, Seaside Parish, Country House, 2.4 Children, The Thin Blue Line, The Adventure of English, 12 Books that changed the world, The History of ITV, The Great Music Show, Cardiff Singer of the World, Murder by the Book, The Borrowers, Chalk, A Time to Dance, The Lesley Garrett Show, Words and Pictures, Choir of the Year, Howard Goodall’s Organworks/ Choirworks/ Big Bangs/ Great Dates/ 20th Century Greats/ How Music Works.
Howard’s Film Scores
Bean – The Ultimate Disaster Movie (1997), and Mr Bean’s Holiday (2007), the second of which won an ASCAP Award in 2008.
Bernard and the Genie – a film starting Rowan Atkinson, Lenny Henry and Alan Cumming (1991).
Blackadder Back & Forth – a film spin-off from the successful BBC series (1999).
Into the Storm, an HBO film about Sir Winston Churchill starting Brendan Gleeson and Janet McTeer (2009). The score for this film won an EMMY Award in 2009 (click here for more information about the film on the HBO website).
The Gathering Storm, an HBO film starting Albert Finney and Vanessa Redgrave (2002) . The score was nominated for a BAFTA award in 2003.
On composing for TV and Film
Here Howard explains some of the challenges he has faced in writing TV and film music……
“The bottom line of writing for a visual medium like TV or cinema is that you are a secondary, support service, not the main reason people come to it. The fact that audiences adore and remember great movie scores is a tribute to the brilliance of the individual composers concerned who have managed to imprint a personality and shape onto something that is essentially fulfilling quite a separate agenda. The fact that there are great scores for lousy movies and lousy scores for great movies must mean that those agendas aren’t always in total concert with each other.”
Copy from an interview with The Guardian about writing for TV, The full article can be found here.