Most composers who have written for the films will agree that there is not so much money to be had from composing for ‘documentaries’ but quite a lot of interest and amusement. If they have been working on the current output, they might recall the cantata with lantern-slide accompaniment which so-and-so composed on the Beveridge report; or perhaps the ovation which the orchestra gave another composer at a recording session for a particularly adroit piece of scoring to fit a sequence on mechanical sewage disposal. But in their more sober moments these composers will admit that there are interesting opportunities for music in documentary films and that there is a real measure of artistic satisfaction in working on such a film if it is well planned and imaginatively executed.