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Eighteen of Steiner’s scores were for Bette Davis pictures, placing him at the melodic heart of what were called “women’s pictures”, but he’s often referred to more generally as the father of film music, thanks to his pioneering work on early Thirties pictures such as Symphony of Six Million (1932) and King Kong (1933). A champion of restraint as well as a lavish melodist, he famously resisted Selznick’s pressure to fill Gone With the Wind with a greatest hits classical repertoire, arguing that only a fully tailored score would extract emotional nuance from every scene. In getting his way, he won a landmark victory for the medium.
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