Fassbinder used his theatrical work as a springboard for making films ; and many of the Anti-Theater actors and crew worked with him throughout his entire career ( for instance, he made 20 films each with actresses Hanna Schygulla and Irm Herrmann ).

The Bernard Herrmann piece entitled " The Ambush " is used during the encounter with Carling at the chain linked fence.

Ironically, Herrmann had composed some jazz for the " picnic " scene in Citizen Kane and he later used some jazz elements ( much in the vein of Maurice Ravel's two piano concertos ) for The Wrong Man when he scored the nightclub scenes showing Henry Fonda as a double bass player in a jazz band, and for Taxi Drivers saxophone-driven theme which recalls Charlie Parker's rendition of " Laura.

Herrmann used several electronic instruments on his score of It ’ s Alive as well.

Also from this era is a ceramic mask used for decorating walls found among the ruins of what is believed – not without controversy – to be a Mongol-built Buddhist temple in the southern suburbs of Sultan Gala ( Herrmann 1999 ).

Bernard Herrmann composed and conducted the imaginative score, and later used much of it for the film Jane Eyre.

Bernard Herrmann used a serpent in the scores of White Witch Doctor and Journey to the Center of the Earth ( 1959 ).

Stirling Moss believed that the BRM engine was superior to the Coventry-Climax unit used in his Cooper, and a P25 was briefly run in 1959 by the British Racing Partnership, for Moss ( and also Hans Herrmann ), and Rob Walker also backed the construction of a Cooper-BRM to gain access to the engine.

With different versions of the Porsche 718 being used as a sportscar and as Formula Two, Herrmann scored some wins for Porsche, mainly both the 1960 12 Hours of Sebring and Targa Florio.

The episode followed the same basic plot outline as the films and used elements from the original film's score by Bernard Herrmann ( which was also used in the 1991 version ), which, after this episode, became Sideshow Bob's theme.

From that point on he called himself " The man that fooled Herrmann " and used the publicity to get booked into top vaudeville houses in the U. S. and Europe, billing himself as the King of Cards.

The original musical score was composed by Graeme Revell and the title theme music by Bernard Herrmann from the original film was used.

Herrmann used Rudolf's paper in the defense of Otto Ernst Remer, a former Wehrmacht officer charged with incitement of hatred, a criminal offense in German law.

Herrmann chose unusual instrumentation for the film: violin, cello, and bass ( all three electric ), two theremin electronic instruments ( played by Dr. Samuel Hoffman and Paul Shure ), two Hammond organs, a large studio electric organ, three vibraphones, two glockenspiels, marimba, tam-tam, 2 bass drums, 3 sets of timpani, two pianos, celesta, two harps, 1 horn, three trumpets, three trombones, and four tubas.

His essays and expedition reports from the animal world were well received by the educated bourgeoisie ; because of this, he was commissioned by the editor of the Bibliographisches Institut, Herrmann Julius Meyer, to write a large multivolume work on the animal world.

Various other ancient buildings are scattered between and around these four cities ; all of the sites are preserved in the “ Ancient Merv Archaeological Park ” just north of the modern village of Baýramaly and thirty kilometers east of the large Soviet-built city of Mary ( Herrmann 1993 ).

The music by Bernard Herrmann was his final score before his death on December 24, 1975, and the film is dedicated to his memory.

It is based on the score of the film Cape Fear, composed by Bernard Herrmann.

This is one of several Hitchcock movies with a music score by Bernard Herrmann and features a memorable opening title sequence by graphic designer Saul Bass.

The music score was composed by Bernard Herrmann in August 1951, and was his first score after he moved from New York to Hollywood.

Selznick originally wanted Bernard Herrmann but when Herrmann became unavailable, Rózsa was hired, winning the Academy Award for his score.

The haunting score composed by Bernard Herrmann for this episode would be reused for several episodes of the series, most notably " The After Hours " and " The Last Flight ".

Meyer approached producer Steven Charles-Jaffe with Eidelman's CD, which reminded Jaffe of Bernard Herrmann ; Eidelman was given the task of composing the score.

It was directed by Fred Zinnemann and features a strong musical score by Bernard Herrmann.

When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name were not removed from the credits.

In a question-and-answer session at the George Eastman Museum in October 1973, Herrmann stated that, unlike most film composers who did not have any creative input into the style and tone of the score, he insisted on creative control as a condition to accepting the film ’ s scoring assignment:

Hitchcock listened to only the prelude of the score before turning off a recording of the music and angrily confronting Herrmann about the pop score he had promised.

" Hitchcock unrelentingly insisted that Herrmann change the score, violating Herrmann's general claim for creative control that he had always been maintained in their previous films.

Of course, once Herrmann felt he had been wronged, he was not going to say ' yes ' to Hitchcock unless he was courted and it seems unlikely that Hitchcock would be willing to do that, although apparently Hitchcock did ask Herrmann back to score his last film Family Plot right before Herrmann died.

Herrmann subsequently moved to England, where he was hired by François Truffaut to write the score for Fahrenheit 451 and, later, for The Bride Wore Black.

Robert B. Sexton has noted that this score involved the use of treble and bass theremins ( played by Dr. Samuel Hoffmann and Paul Shure ), electric strings, bass, prepared piano, and guitar together with various pianos and harps, electronic organs, brass, and percussion, and that Herrmann treated the theremins as a truly orchestral section.

Most famously, after over a decade of composing for all of Hitchcock ’ s films, Hitchcock requested a more “ pop ” score from Herrmann.

Herrmann ’ s score was not what Hitchcock had requested, and since Herrmann was so committed to having artistic liberty and would not compromise his values, the two went their separate ways, never to collaborate again.

* BAFTA Anthony Asquith Award for Film Music ( Bernard Herrmann )

* Academy Award for Original Music Score ( Bernard Herrmann )

* Grammy Award for Best Original Score Written for a Motion Picture ( Bernard Herrmann )

* Ned Herrmann, is known for his research in creative thinking and whole-brain methods

As for other Twilight Zone episodes, Bernard Herrmann — also composer of the first season's main title music and most of its stock music — wrote the music for this one.

* Frank Herrmann ( born 1984 ), pitcher for the Cleveland Indians.

* The town of Keysville was an on location site ( the train station served as a recreated Warm Springs, GA ) for filming during the production of the 1976 TV movie Eleanor & Franklin, starring Jane Alexander and Edward Herrmann.

The composer Bernard Herrmann conducted the orchestra for some broadcasts, especially The Mercury Theatre on the Air and The Campbell Playhouse programs presented by Orson Welles.

Herrmann was asked by Fox to rescore his prelude for the film as the original was considered " too terrifying ".

Bernard Herrmann born Max Herman ( June 29, 1911 – December 24, 1975 ) was an American composer noted for his work in motion pictures.

An Academy Award-winner ( for The Devil and Daniel Webster, 1941 ), Herrmann is particularly known for his collaborations with director Alfred Hitchcock, most famously Psycho, North by Northwest, The Man Who Knew Too Much, and Vertigo.

Within two years he was appointed music director of the Columbia Workshop, an experimental radio drama series for which Herrmann composed or arranged music ( one notable program was The Fall of the City ).

In 1947, Herrmann scored the atmospheric music for The Ghost and Mrs. Muir.

While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for Welles's Mercury Theatre on the Air and Campbell Playhouse series ( 1938 – 1940 ), which were radio adaptations of literature and film.