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Game that Sam Spiegel was in charge in the mixing studio. Elia Kazan sat in a corner not giving his opinion on anything. But it was nonetheless interesting to take part in an Elia Kazan film. Game because I greatly admired this director. But in general studios rarely intervened Game Game notably on films by John Huston, Alfred Hitchcock or David Lean. When Luchino Visconti finished “The Damned” Game I was in LA and he asked me to come to Rome immediately. I remember it was February . I took the first flight to Rome. February and March went by. End of March, still no Visconti. I asked, “When can I see Mr. Visconti to discuss the music?” “The trouble is, Mr. Visconti is in Vienna right now Game “because he needs to be at rehearsals for an opera. “that he’s producing. ” So I didn’t start working until early September. He was wonderfully relaxed. I’d spent about months in Rome. I hadn’t worked much but I was somewhat anxious Game Game because I was there to work Game Game not to go and see operas here, there and everywhere. This is a South American percussion instrument. That’s the oldest instrument in the world. Musicians would wave it Game This is a percussion instrument. There’s a percussionist from Los Angeles. who’s always searching for new sounds and he found that Game You could call it a “jarre”! The balalaika. This is a didgeridoo. The sound is wonderful Game I used this in “Mad Max”. I remember, in the mixing studio at Wembley in London Game we spent nights on end just mixing the music Game Game and poor George Miller had to edit the film during the day. In the evenings and at night Game I forced him to stay in the studio. Game to see if he liked the mixed music. Sometimes he fell asleep Game Game and I or my assistant, Christopher Palmer, had to wake him. Game in order to force him to listen. Game and to give his opinion. In Mozart’s music Game Game in his piano concertos Game Game there are sudden silences.