You can see my decision as either a distinctive factor or as a limitation. I don't feel it is a limitation.

I also used these realistic sounds in a psychological way. With The Good, the Bad and the Ugly, I used animal sounds - as you say, the coyote sound - so the sound of the animal became the main theme of the movie.

I come from a background of experimental music which mingled real sounds together with musical sounds.

We live in a modern world, and in contemporary music the central fact is contamination. Not the contamination of disease but the contamination of musical styles. If you find this in me, that is good.

You can see my decision as either a distinctive factor or as a limitation. I don't feel it is a limitation.

Popularity doesn't bother me. It attests to the affection and comprehension of the public. The important thing is to retain the pioneer spirit. I profoundly love the profession, and I work on each film as if it were the first - and the last. Giving the best of myself. Many of the 'greats' ask their arranger to write their scores for them. Me, I write all alone, from the first note to the last. All.

Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I dont understand why this happens in the movie industry.