Whether it's a 90-piece orchestra, a synthesizer, or the creative blend of both resources, his final product seeks synergy between the image and audio. For Mr. Rosenthal, a lifetime of film and television composition has boiled down the role of film music to communicate a few basic things. This music tells you what the eye is already seeing by underlining, supporting and emphasizing elements in the film that are visually obvious. In his experience, this species of scoring is employed the most frequently and is also the least interesting both for the composer and the viewer. Expressing the Invisible Film music is most interesting to him when it is a communication of what the eye doesn't see.
Music expresses the interior drama.
It expresses the invisible. His impromptu example was of a man sitting, drinking coffee in a neutral, static scene. The images tell us nothing special. There is no feeling here. There's no emotional script.