Welcome back to the home of the oxymoron. Evil genius. He asked the newspaper to print his obituary early so he'd enjoy it. That's like hiding at your own funeral. Yeah, it's a big, great gig. I'm Russell Kane. Join me to weigh in on whether the biggest players in history are more evil or genius. Becoming that rich, I'd say that at some level of genius. It also helps that it's a long time ago, right?

It's like the podcast version of telling your kids the ice cream van plays music

when it's out of ice cream.

Listen to evil genius on BBC Sounds.

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Hello and welcome to the intermission in tonight's film music prom. The audience here in the cheap seats at the Royal College of Music are enjoying their new brief roots and their

kiora. I'll have a drink on a stick, please, Dolly. And I have to tell you that just before the

lights went down, the commissionaire discovered two lauded experts on big screen music, trying

to sneak into the one and nines. So we've come to an arrangement with them. We're going to

let them stay in exchange

for some empty jam jars and the benefit of their knowledge tonight. They are Debbie Wiseman,

the screen composer whose crotchets have counterpointed the action of Wild, Father Brown,

and lesbian vampire killers. Yes, that is three different productions.

And David Benedict, who, to use the slang of his own organ, variety, is one of the top cricks of clefers and hoofers.

In short, if he's mitting, it must little sniffy about film music, aren't they?

They say, how can this be art when it's enslaved to these images?

But I want to start our conversation tonight by seeing what you make of a big claim, really,

that movie music is

where classical orchestral music has gone, the inheritors of the 19th century orchestral

tradition. They're in Hollywood, David. I think that's true. People like to say, oh, classical

music's dead, which obviously to a prom's audience is not the case, but lots of newspaper

...