By now it’s no secret that I believe that the composer-director relationship is one of the most important in film. I’ve studied it, actively and passively, for as long as I’ve been aware of film music.
Film music is as much about collaboration and relationships as any other part of the art. And that goes beyond the work a composer and filmmaker do together. So today, I’ll be looking at one particular relationship that spanned only two films, but cast a wide shadow.