I’ve come across three interesting stories on film scoring today. Here’s a round-up:

• Tomorrow Unlimited has an interview with Carlos Dengler (otherwise known as Carlos D, otherwise known as the bassist for Interpol) about his fledgling side career as a film scorer. Dengler composed music for a segment of HBO’s strange content/marketing hybrid Voyeur, which you can watch by going here. For more on the Voyeur muddle, check out this post on Screens by Virginia Heffernan, who tries to sort out a definition of this “blurry thing surrounded by a lot of talk about how many-splendored it is.” Semi-related: see artist Doug Aitken’s video for Interpol’s “NYC”, which contains its own city-surveillance themes, above.
• On his blog, New Yorker music critic Alex Ross pokes at the details of a meeting between expressionist composer Arnold Schoenberg, and 1930s MGM mogul Irving Thallberg. Thallberg had allegedly heard a broadcast of Verklärte Nacht and initiated a meeting with Schoenberg to discuss the latter scoring the former’s production of The Good Earth. Thallberg complimented Schoenberg on his “lovely music”, which rankled Schoenberg, who prided himself as the master of atonality. But has the story has been misreported? Ross investigates. [Via GreenCine Daily]
• Techno star/tea mogul Moby has set up a website to allow student, indie and other non-profit filmmakers free access to his music for scoring purposes. “The music is free as long as it’s being used in a non-commercial or non-profit film, video, or short,” Moby writes on the site’s splash page. “If you want to use it in a commercial film or short then you can apply for an easy license, with any money that’s generated being given to the humane society.” [Via Cinema Minima via Twitter]