This is fairly accurate, but still not entirely correct. Most importantly, I do not claim that a narrative film needs a melody/theme-and-variation score, which isn't true. Many a narrative film do not have one. Instead, what I have discovered is that the score for a narrative film, to complement the film to the fullest extent possible [as is a film score's purpose], should be developed from one central musical gesture. Furthermore, the type of approach I advocate does not in any way diminish the extent to which a score can create a mood. Plus, I do not contend that the presence of multiple themes in a score necessarily confuses a listener per se. What I would contend is that a variety of random/unrelated ideas does not help a listener efficiently synthesize the narrative elements in a narrative picture. As I've said before, a fan of non-unified scores for narrative films had best not think about them! Dan