I wonder, because sometimes you can hear their influences pretty clearly, if TR/AR took any inspiration from the Apocalypse Now score, which was one of the first major films to use electronics instead of conventional orchestras.
I wonder, because sometimes you can hear their influences pretty clearly, if TR/AR took any inspiration from the Apocalypse Now score, which was one of the first major films to use electronics instead of conventional orchestras.
True, but Kubrick didn't use her work exclusively, which became a source of friction by the time she (and Rachel Elkind, the Atticus Ross of this analogy) collaborated with him again on The Shining; he would get too attached to the orchestral versions of songs and then reject anything they came up with to replace it.