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His scores for the following films were also nominated for the list: References edit In his autobiography, Steiner states his full name as "Maximilian Raoul Walter Steiner". Steiner felt knowing when to start and stop was the hardest part of proper scoring, since incorrect placement of music can speed up a scene meant to be slow and vice versa: "Knowing the difference is what makes. The result is tone-colour of an appropriately glassy quality;. . Film Score: The Art Craft of Movie Music. 27 :68 Despite the inferiority of Steiner's individual scores, his influence was largely historical. The Big Sleep and The Letter were his best film noir scores. If you get too decorative, you lose your appeal to the emotions. Hollywood, where he became one of the first composers to write music scores for films. I have the film put through a special measuring machine and then a cue sheet created which gives me the exact time, to a split second, in which an action takes place, or a word is spoken. 1550 Neale, Steve,.
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Before he left RKO, they offered him a month to month contract as the head of the music department with promise of more work in the future and he agreed. As a result, Steiner noted, "they began to add a little music here and there to support love scenes or silent sequences." But in scenes where music might be expected, such as a nightclub, ballroom or theater, the. 22 :9 Steiner took advantage of this offer and used an eighty-piece orchestra, explaining the film "was made for music". (19371953) edit In April 1937, Steiner left RKO and signed a long-term contract with Warner Bros. William LeBaron, RKO's head of production, traveled to New York to watch Steiner conduct and was impressed by Steiner and his musicians, who each played several instruments. Or perhaps the music can clarify a character's emotion, such as intense suffering, which is not demanded or fully revealed by a silent close-up. For example, films like 2001 A Space Odyssey, The Sting and Manhattan, had scores with recognizable tunes instead of having a preferred "subliminal" effect. 16 In 1927, Steiner orchestrated and conducted Harry Tierney 's Rio Rita. We Make The Movies. A copy of the manuscript resides with the rest of the Max Steiner Collection at Brigham Young University in Provo, Utah. Unheard Melodies: Narrative Film Music. In addition, the reasons he mentioned this name are unknown. The Billboard Book of Number One Hits (5th.).
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