MRH : I guess another aspect with soundtracks is that you also have the collector mentality and the physical relationship: you can hold a CD and LP, display it on the shelf in alphabetical order. From the success of the albums that you've sold over the past few months, there must be an indication that there are collectors who like the online model and are not welded to the need to have and hold, but to just hear and enjoy the music.

MC : I think there's still some resistance, but on the other hand, I think that it's a process that'll go on for maybe 10 years; we're 2-3 years into that, and maybe people still have to get used to downloadable albums.

I don't know how many albums I have – maybe five thousand CDs or something like that – and I don't have enough space for them. It's not like a collection anymore; it's more like an archive. To have the music on your computer is very convenient, and for me, and I guess for most of my customers, it's the music itself that really counts.

I think that a lot of people have an understanding for this whole situation where my albums present music from small or unknown films by new and unknown composers, and they realize that this music would probably not be available in any other format, so they'll buy it.

It would be interesting to see what would happen if some of the music were released on CD. My distribution agreements are not exclusive except with digital distribution, so if there is some other label that would like to make an ordinary album of a score that I've discovered, so to speak, they're free to do so. I'm not competing with them in that respect.

I guess some people think that my online service will prevent a physical release; that's not the case. I definitely don't think that would prevent a market for a physical release if a film and score that I discovered turns out to be a success, becomes a cult hit, or the composer goes on to do a major picture. I think there might be room for both. I mean, Varese Sarabande releases their stuff on iTunes, and I think their downloads might be a way to broaden the soundtrack market.

MRH : One difficulty new composers have is that their music may only exist in the film or as a promo CD circulating among professional or collectors, which is a limited audience, while a downloadable album is a commercial release that gives them added legitimacy. Do the composers whose work you carry feel their work is reaching a lot of listeners? And are they getting positive feedback?

MC : I can tell you that all of the composers I've worked with have been astounded by the feedback they've received, because there's been quite a lot of interest among online soundtrack reviewers. All these terrific websites showcase the passion for film music, and my former colleagues have reviewed the albums I've released, some with critical acclaim. I think there's been just one or two bad reviews; the rest have been three and a half or four stars all over, and there's been a lot of nice sentences written about the composers.

What some of these reviewers are doing is a hobby, and they are doing it out of love for film music. I don't think they realize how important their reviews can be for a composer. It's quite uncommon that film composers get any feedback at all, other than from the producer or the director, and maybe some of the actors at the premiere. That's all they get, and what they get from reviewers is true appreciation of their work. I don't think a lot of the composers I work with expected that.

I'm pretty proud of that aspect, because I know that it gives the composer a well deserved place in the spotlight.