A Passage to India. It is my favourite movie.
Anyway, at least Witness gave me good results. It was a risk that Peter Weir assumed an we were good, don't you think?
But indeed it was then when I listened Litz's Second Hungarian Rhapsody and I decided my vocation.
But think on this: I had to work in movies, many movies, to pay all my former wives!
But, yes, now I wouldn't do some of those soundtracks the way I did them.
For Ryan's Daughter I used a total of eight harps, something that was, at least, weird.
I began to write a kind of waltz and in a little more than an hour I had the theme written.
I'm very interested in Thomas Newman, Elliot Goldenthal. They are innovators.
In that long sequence, when Lawrence enters in the desert to rescue a lost man, Lean listened the music I wrote and wanted to extend the scene to let my work stay completely.
In the case of Mohammad-Messenger of God, Menahem Golam asked me -almost beg me- to be scrupulously respectful with the figure of Mohammad, since the film had to please the arabian world.
Lean was a director always compromised with his work, but not only in directing, but also in the other technical and artistic aspects.
My parents did not have any interest in music.
Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.
Some months ago, while I was preparing a new work, I told a young cinema executive my intention of including in a soundtrack two themes from Bach. But when he asked me which has been the last hit from that Bach?, then I knew that I had no longer place in cinema.
Some people ask me if my son Jean Michel has influenced me in using synthetisers. I always answer that I worked with them long before he was born.
Soon I worked during twelve years in theater works of the prestigious Theatre National Populaire. It was the best time of my life, the most difficult, the most interesting, the most exciting.
The idea in The Man that Would Be King was that the music should recreate all that majestic surrounding and emphasize the adventure, but also speak about the frustration or, rather said, the curse of both protagonists, even before happened what happens them.
The problem was that Lean wanted to do something similar to Madame Bovary, a quite simple story into a great spectacle, like a great opera, in which my music would play a fundamental role.
Three years later, I finished my studies of composition, harmony and counterpoint, and I specialized in ethnic music.
Visconti was a brilliant man, and an exceptional director. He was cultured, refined, a left intellectual, and very rich.
When I was 15, I did not know nothing about what concerned the world of music.
With Hitchcock I had little relationship. I was called to replace Bernard Herrmann, his favorite composer, in Torn Curtain, after the bitter fight between them.
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