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Those thirty (if they actually are thirty; I can find no evidence of such a high number)


Steiner is associated with 41 films in the BYU reference I gave that you are ignoring. Of course, most of them are musical director credits or even uncredited, with recycled music or having only short main and end titles. Hugo Friedhofer, however, never worked with Steiner at RKO, but Bernhard Kaun contributed to many of Steiner's "full" RKO scores.


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True, but many of those films had relatively little music. It's also possible that Morricone had staff composers working for him.


I think that it more likely that many of Morricone's scores of that period are not so elaborate as some people think they are. Who else has had so many CDs with 2, or sometimes more, scores represented on them?

Who else has regularly lambasted other composers for using orchestrators? I doubt he would risk making that argument if he weren't writing his own music.

I was being facitious with the Steiner numbers, since most everyone knows that most of Steiner's early RKO scores were definitely not KONG class scores and had very little music, but you guys are being downright factitious about Morricone since you don't really know anything about the number, length, and forces of the scores he wrote. It's OK with me if you don't like his scores - I wouldn't even bother to argue about that. However, taking Rustichelli's conversational comments literally and using them as a bludgeon is just too much. Besides, if Rustichelli knew that someone else was writing those scores, he would have surely mentioned it to Rozsa, and he was in a position to know. And, Page Cook would have gleefully passed the information on to us.