Claudio Fuiano

Mario Nascimbene

You often use “sounds” in your film scores. A heartbeat in DOCTOR FAUSTUS, sounds of nature in the “Dinosaur” films, a typewriter in ROMA ORE 11, the rustling of the wind in BARABBAS, etc. Does that reflect your interest in experimentation when you score a picture, or do you do it to have fun, to…

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Nicola Piovani

This interview took place at the Forum Recording Studio in Rome, which is the place for recording film music. Nicola Piovani was recording the score for Fellini’s GINGER E FRED (1986) at the time, but he took time off to discuss his career, which spans 16 years and37 films. Do you score people or situations…

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