| LOS ANGELES, Sept 14
LOS ANGELES, Sept 14 Composers for television
shows don't usually get the same critical recognition as those
composing soundtracks for films, but an increase in viewers
"binge-watching" shows has led to a brighter spotlight on TV's
Emmy-nominated Robert Duncan, who scored "The Last Resort,"
a TV show about a U.S. nuclear submarine crew, said that viewers
who watch several episodes of a show in a row on platforms such
as Netflix were changing the art form of television soundtracks.
"Times are changing," he said. "TV's becoming more cinematic
and there's an expectation for the music to follow suit."
Canadian-born Duncan, whose career was jump-started by a
prestigious Hollywood composing workshop in 2001, also worked a
series composer for "Buffy The Vampire Slayer." Now he is
represented by the same agency that works with top composers
such as Oscar-winner John Williams, who scored "Star Wars."
For the musical overtones of "The Last Resort," Duncan
climbed aboard a Cold War-era boat in San Diego and recorded
sounds from the vessel to incorporate into the music.
The effort paid off for the 42-year-old composer, who has
been known to tinker with old instruments and industrial salvage
to find unique sonic qualities. His soundtrack for the "Captain"
episode of the Walt Disney ABC series earned him his
third Emmy nomination.
Duncan will vie against five other composers in the Best
Dramatic Score category this Sunday at the Creative Arts Emmys,
which are held a week before the Primetime Emmys and focus on
behind-the-scenes crafts like music and make-up.
"Every TV show is different and part of my job is to assess
whether the people I work for have any music allergies," said
Duncan, who earned previous Emmy nominations for the series
"Castle" and "Missing."
Duncan is a product of the American Society of Composers,
Authors and Publishers (ASCAP) Film Scoring Workshop, an
industry incubator of sorts that has helped launch the career of
another Emmy nominee this year, fellow Canadian-born composer
Trevor Morris, for his score on "The Prince" episode of the
Showtime series "The Borgias."
"The workshop was my point of entry to Los Angeles, which
can be a big, scary town," said Morris, 43, who participated in
the workshop in 1999 and went on to win an Emmy in 2007 for best
music composition for "The Tudors."
Each year, 12 aspiring composers from around the world and
averaging in their mid-20s, are picked by ASCAP, an organization
that distributes royalties, for a four-week program during which
they compose an original score to a scene from a major film.
Since completing the workshop, both Morris and Duncan have
been involved in the judging process. Morris said the program
helped him get work with famous composers like Hans Zimmer. As
part of Zimmer's team, Morris accumulated more than 25 major
screen credits on some of Hollywood's biggest blockbusters.
Morris and Duncan stay in touch with each other and other
program members. "A bunch of us were just at the Hollywood Bowl
to hear John Williams, the original maestro of maestros," Morris
said. "To hear him live in concert reminds you of why you get
into this business in the first place."
The composers will face off in the best original dramatic
score category on Sunday, which also includes nominees David
Schwartz for Netflix series "Arrested Development," John Lunn
for PBS series "Downton Abbey," Jeff Beal for Netflix's "House
Of Cards" and Charlie Mole for PBS Masterpiece Theater's "Mr.