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Lastly, he also transformed traditional acoustic instrumental sounds into electronic forms to ensure fidelity to Wise’s vision. His preparations also included taping electronic instrumental sounds in the NASA Jet Propulsion laboratory. He began making a number of recordings that captured dozens of organic sounds, such as the wind, bowling alleys, chain saws, and railways. To that end he conceived, and pioneered the creation of the first percussive synthesizer, which he named a Percussotron. Drawing upon that tradition, and mindful of Wise’s direction, Mellé decided that audacious innovation was needed – thinking out of the box. Fifteen years earlier, Bebe and Louis Barron created the first non-acoustic, electronic film score with their seminal work on Forbidden Planet. His music would need to speak to the mystery, danger and implications posed by this truly horrific discovery. Mellé understood that the film was a suspense drama where technology bio-science and an alien organism intersect with potentially devastating consequences. I don’t think any composer in the history of the world has ever been asked to write music that had no themes, no chords, no harmonic structure, and with totally new sonorities! But I was just loaded with self-confidence and said I can do it!” “Robert Wise’s input was the toughest I’ve ever gotten in my life. This was a techno-thriller about a lethal alien organism and he wanted a modernistic cutting-edge soundscape, and so he hired Mellé who was very happy to accept the assignment. Robert Wise was clear from day one that he did not want a traditional acoustic orchestra to provide the score for his film.
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Gil Mellé was a successful jazz composer who also scored numerous television shows, earning distinction for his innovative use of electronica. Critical reception was mixed, but it nevertheless secured two Academy Award nominations for Best Art Direction and Best Film Editing. The film was a commercial success, earning $12.4 million, or nearly twice its production cost of $6.5 million. Hall testifies before congress, he cryptically warns that they may not be so lucky in the future. The manage to defeat the organism but in the closing scene where Dr.
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They soon discover that the organism has a very narrow habitable pH range, which means they can kill it by making its environment more acidic or alkaline. Hall barely succeeds in disengaging the self-destruct and saves the day for humanity. This leads to the digestion of the lab’s safety barriers, which triggers a nuclear self-destruct, which must be aborted as the organism would thrive on the nuclear energy, expand into a super colony and destroy all corporeal life on earth. Well, things go awry when the organism mutates into a new form, which consumes all synthetic rubber materials. They also bring back the infant and drunk man so as to determine why they are immune to the organism. This would allow a team of specialists to examine and run experiments on the organism in hope of finding a vaccine and means to kill it. They decide to quarantine the satellite and bring it to a top-secret underground government facility called Wildfire, a self-contained specialized laboratory complex, armed with a fail-safe self-destruct nuclear weapon. This leads to a working theory that the satellite had somehow brought back a virulent alien organism lethal to human life.
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An on the ground investigation reveals a horrific discovery, that the blood of the physician who opened the satellite casing had turned to powder. A scientific retrieval team discovers that all members of the town have died, except a crying infant and a drunken man. The story is set in the 1970s in the United States and involves the crash of a government satellite in the town of Piedmont New Mexico. Paula Kelly as nurse Karen Anson, and George Mitchell as Mr. He hired trusted collaborator Nelson Gidding to adapt the novel for the screen and brought in a fine cast, which included Arthur Hill as Dr. Renowned academy award winning director Robert Wise was brought in to both produce and direct the film and given a generous budget of $6.5 million. Universal Studios executives saw opportunity to capitalize on the public fascination surrounding the best-selling 1969 techno-thriller novel The Andromeda Strain by Michael Crichton, and purchased the film rights for $250,000.