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Marisol was a particularly noteworthy production for me in many ways. It stretched my ability to compose a more cinematic score than I had before and it was the first thing I did after I was laid off by Exploratoium so I poured a lot of fresh grief into the music to accompany Marisols journey to hell. I was also listening to a lot of Karlheinz Stockhausen and Yoko Ono, some of which made it into the score.
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