spotlight, making the music, " the picture stating that, "if it gets too decorative, it loses its emotional appeal". 1 film composer." 42 Wagner was the inventor of the Wagnerian leitmotif and this influenced Steiner's composition. 28 In 1939, Steiner was borrowed from Warner Bros. This is not the place. 20 Scores from the classics were sometimes harmful to a picture, especially when they drew unwanted attention to themselves by virtue of their familiarity. 2 :35 Steiner had more success with the western genre of film, writing the scores for over twenty large-scale Westerns, most with epic-inspiring scores "about empire building and progress" 5 like Dodge City (1939 The Oklahoma Kid (1939 and The Adventures of Mark Twain (1944). Tierney himself later requested RKO Pictures in Hollywood hire Steiner to work in their music production departments. 10 :3 Eysler was well-known for his operettas though as critiqued by Richard Traubner, the libretti were poor, with a fairly simple style, the music often relying too heavily on the Viennese waltz style. 10 :2 In his youth, he began his composing career through his work on marches for regimental bands and hit songs for a show put on by his father. 22 :52 Producer David. Gone With the Wind as Book and Film. However, according to Hugo Friedholfer, Tiomkin specificially asked for Steiner, preferring him over the film studio's current music director. 5 9 :34 Due to the score's length, Steiner had help from four orchestrators and arrangers, including Heinz Roemheld, to work on the score. For example, when the ship sails into Skull Island, Steiner keeps the music calm and quiet with a small amount of texture in the harps to help characterize the ship as it cautiously moves through the misty waters.