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FILM / Once Upon a Time in Film Scoring / The Psychic / Sean Woodard

While much has been written on the scores for quintessential gialli such as Argento’s Deep Red (Profondo Rosso), Fulci’s film—alternately titled Seven Notes in Black and Murder to the Tune of Seven Black Notes—inherently ties a music theme to the plot itself. In effect, its alternate titles not only appropriately reference the narrative, but seven particular notes mentioned creates a sense of foreboding. The number of notes is incorporated into the recurring main theme. Each repetition then builds suspense as the film moves toward its inevitable conclusion.

FILM Once Upon a Time in Film Scoring Stand by Me Sean Woodard

When people hear the phrase “stand by me,” they’ll most likely recall the classic Ben E. King song or the 1986 Rob Reiner film which shares its name. Adapted from Stephen King’s novella The Body, the film was nominated for an Academy Award for best adapted screenplay and has been cited in multiple publications as one of the best coming-of-age dramas. It is my favorite film and one of my main influences on becoming a writer.

FILM Finding the Sacred Among the Profane Don’t Torture a Duckling (1972) Sean Woodard

Lucio Fulci, affectionately known among his fans as the “Italian Godfather of Gore,” directed a wide array of genre films including spaghetti westerns and comedies, but is most remembered for his Euro Horror films. While most casual fans may recognize him as the director of Zombie 2 (1979)—a pseudo-sequel to George A. Romero’s Dawn of the Dead (1978)—and The Beyond (1981), Fulci also contributed some solid entries in the 1970s to the giallo genre, including A Lizard in a Woman’s Skin (1971) and Don’t Torture a Duckling (1972).
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