The producer was Dino DeLaurentiis, who probably deferred to Huston on most creative matters, including music.

If one looks back on the choices Huston made for his films after leaving Warner Bros. at the end of the 1940s, a few were rather unconventional: George Antheil for WE WERE STRANGERS, Franco Mannino for BEAT THE DEVIL, and Philip Sainton for MOBY-DICK. And apparently he thought enough of Miyazumi to engage him to score his next film, REFLECTIONS IN A GOLDEN EYE.

Of course, Huston often went with whoever was available at the studio at which he was working, or went with a local composer (Georges Auric), or a young up-and-comer (Jerry Goldsmith, who ultimately scored several Huston pictures), or fell into an unfortunate rut (Maurice Jarre).

In all, it paints a picture of

A: Someone who refused to be pigeonholed as to the type of music he wanted for a particular project

or

B: Someone with a tin ear who figured composers were more or less interchangeable.