Pino Donaggio: The Master of Thrilling Soundtracks

Pino Donaggio is a name that may not be familiar to many people, but his music certainly is. He is one of the most prolific and influential composers of film and television scores, especially in the horror genre. He has worked with some of the most acclaimed directors in cinema history, such as Brian De Palma, Nicolas Roeg, Joe Dante, and Dario Argento. He has also composed music for some of the most iconic and memorable scenes in film history, such as the shower scene in Dressed to Kill, the prom scene in Carrie, and the transformation scene in The Howling. In this article, we will explore the life and career of Pino Donaggio, the master of thrilling soundtracks.

Pino Donaggio: From Violinist to Singer-Songwriter

Pino Donaggio was born in Venice, Italy, on November 24, 1941. He showed an early talent for music, and started playing the violin at the age of four. He studied at the Benedetto Marcello Conservatory in Venice, where he learned classical music and composition. He was influenced by composers such as Vivaldi, Bach, Mozart, and Beethoven. He also developed a passion for opera, especially for Verdi and Puccini.

However, when he was 18 years old, he had a car accident that damaged his hand and prevented him from playing the violin professionally. He decided to switch to pop music instead, and became a singer-songwriter. He was inspired by American rock and roll artists such as Elvis Presley, Buddy Holly, Chuck Berry, and Little Richard. He also listened to Italian singers such as Domenico Modugno, Mina, Adriano Celentano, and Luigi Tenco.

He started his musical career as a member of a band called The Blue Boys, which performed covers of American songs. He then went solo and released his first single in 1961, called "Come sinfonia". He soon became a popular singer in Italy, and participated in several music festivals and contests. His most successful song was "Io che non vivo", which he co-wrote with Vito Pallavicini in 1965. The song sold 80 million records worldwide and was covered by many artists, including Elvis Presley (as "You Don't Have to Say You Love Me") and Dusty Springfield (as "Io che non vivo (senza te)"). The song also won him his first Italian Golden Globe Award for Best Original Song.

Pino Donaggio continued to record and perform as a singer-songwriter throughout the 1960s and 1970s. He also collaborated with other artists such as Patty Pravo, Caterina Caselli, Mia Martini, and Franco Battiato. He released several albums, such as Perduto amore, Donna bambina, L'Uomo che non sapeva amare, and Tra musica e magia. He also composed music for some Italian films, such as L'Arcidiavolo, La ragazza di Bube, Il profumo della signora in nero, and L'Amore è come il sole. However, his musical career took a different turn when he met Nicolas Roeg in 1973.

Pino Donaggio: The Breakthrough with Don't Look Now

Pino Donaggio's breakthrough as a film composer came in 1973, when he met British director Nicolas Roeg, who was in Venice to shoot his film Don't Look Now. The film was based on a short story by Daphne du Maurier, and starred Donald Sutherland and Julie Christie as a married couple who travel to Venice after the death of their daughter. There, they encounter a series of strange and supernatural events that test their sanity and their relationship.

Roeg was looking for a composer who could capture the mood and atmosphere of Venice, as well as the emotions and psychology of the characters. He heard Pino Donaggio's song "Io che non vivo" on the radio, and was impressed by its melody and its lyrics, which expressed a sense of loss and longing. He decided to contact Donaggio and ask him to score his film.

Donaggio was surprised and flattered by Roeg's offer, but he was also hesitant and insecure. He had never composed music for an English-language film before, and he did not speak English very well. He also did not have much experience in writing music for horror films, which Don't Look Now was partly classified as. He agreed to meet Roeg and watch a rough cut of the film, but he was not sure if he could do the job.

However, when he saw the film, he was immediately captivated by its images and its story. He felt a strong connection with the film, as he recognized many of the locations in Venice where he had grown up and lived. He also related to the theme of grief and loss, as he had lost his father when he was young. He decided to accept Roeg's offer and compose the music for Don't Look Now.

He worked closely with Roeg, who gave him a lot of freedom and guidance. He composed the music based on his impressions of the film, his personal experiences, and his musical influences. He used classical instruments such as piano, harpsichord, organ, violin, cello, flute, oboe, clarinet, trumpet, trombone, tuba, timpani, and percussion. He also used electronic sounds such as synthesizers, tape loops, filters, reverbs, delays, and distortions. He created a haunting and atmospheric score that matched the film's mood and themes.

The score for Don't Look Now consists of several motifs and themes that recur throughout the film. The main theme is a melancholic and lyrical melody that represents the love and sorrow of the main characters. It is first heard in the opening scene, where the daughter drowns in a pond while wearing a red coat. It is then repeated in various variations and arrangements throughout the film, especially in scenes where the couple remembers their daughter or sees her apparition.

The second theme is a dissonant and discordant motif that represents the mystery and danger of Venice. It is first heard in the scene where the couple arrives in Venice by boat. It is then used in scenes where they encounter weird and ominous characters or situations, such as a blind psychic, a serial killer, a funeral procession, a chase sequence, etc. The motif consists of sharp and staccato notes played by brass and percussion instruments, mixed with electronic sounds that create a sense of tension and anxiety.

The third theme is a playful and whimsical motif that represents the magic and fantasy of Venice. It is first heard in the scene where the couple makes love in their hotel room. It is then used in scenes where they experience moments of joy or wonder, such as a boat ride, a visit to a church, a carnival, etc. The motif consists of light and bouncy notes played by woodwind and keyboard instruments, mixed with electronic sounds that create a sense of fun and adventure.

The score for Don't Look Now was praised by critics and audiences alike, and it established Pino Donaggio as a talented and versatile composer. It also marked the beginning of his career in international cinema, and opened up new opportunities and collaborations for him.

Pino Donaggio: The Collaboration with Brian De Palma

Pino Donaggio's most famous and fruitful collaboration was with American director Brian De Palma, who is known for his stylish and suspenseful films that often pay homage to Alfred Hitchcock. They worked together on nine films, spanning from 1976 to 2012. Their collaboration produced some of the most memorable scores in film history, such as Carrie, Dressed to Kill, Blow Out, Body Double, and Raising Cain.

They met in 1976, when De Palma was looking for a composer for his film Carrie, based on the novel by Stephen King. The film was about a shy and bullied teenage girl who discovers that she has telekinetic powers and uses them to take revenge on her tormentors. De Palma wanted a composer who could create a contrast between the innocence and the horror of the main character. He had heard Pino Donaggio's score for Don't Look Now, and was impressed by its beauty and its tension. He contacted Donaggio and asked him to score his film.

Donaggio accepted De Palma's offer and flew to Los Angeles to work on the score. He watched the film with De Palma, who gave him some suggestions and references, such as Bernard Herrmann's scores for Hitchcock's films. He also asked him to use a female choir for some of the scenes, to emphasize the femininity and the fragility of the main character. Donaggio composed the score using a symphonic orchestra, a female choir, and some electronic sounds. He created a powerful and emotional score that matched the film's tone and themes.

The score for Carrie consists of several motifs and themes that recur throughout the film. The main theme is a sweet and delicate melody that represents Carrie's innocence and loneliness. It is first heard in the opening scene, where Carrie showers in the locker room after gym class. It is then repeated in various variations and arrangements throughout the film, especially in scenes where Carrie interacts with her mother, her teacher, or her crush.

The second theme is a dramatic and menacing motif that represents Carrie's power and rage. It is first heard in the scene where Carrie gets her first period in the shower and is attacked by her classmates. It is then used in scenes where Carrie unleashes her telekinetic abilities, such as when she kills a boy who tries to molest her, when she destroys the prom night, or when she confronts her mother. The motif consists of loud and dissonant chords played by brass and percussion instruments, mixed with electronic sounds that create a sense of shock and terror.

The third theme is a romantic and melancholic motif that represents Carrie's love and hope. It is first heard in the scene where Carrie accepts Tommy's invitation to go to the prom. It is then used in scenes where Carrie experiences happiness or kindness, such as when she dances with Tommy, when she gets crowned as prom queen, or when she talks with Sue. The motif consists of soft and tender notes played by strings and woodwind instruments, mixed with electronic sounds that create a sense of dreaminess and sadness.

The score for Carrie was nominated for an Academy Award for Best Original Score, but lost to Jerry Goldsmith's score for The Omen. However, it was widely praised by critics and audiences alike, and it became one of Donaggio's most popular and recognizable scores. It also marked the beginning of his long-lasting collaboration with De Palma, who became his friend and his mentor.

Pino Donaggio: The Work in Horror Cinema

Pino Donaggio's work in horror cinema was not limited to his collaboration with Brian De Palma. He also composed music for many other horror films, both in Europe and in America. He worked with some of the most renowned directors in the genre, such as Joe Dante, Dario Argento, Monte Hellman, and Don Mancini. He also contributed to some of the most influential and cult horror franchises, such as The Howling, Piranha, and Child's Play.

He started working in horror cinema in 1981, when he scored Joe Dante's film The Howling, based on the novel by Gary Brandner. The film was about a television reporter who is attacked by a serial killer who turns out to be a werewolf. She goes to a secluded retreat to recover from her trauma, but soon discovers that the place is infested with more werewolves. Donaggio composed a dynamic and thrilling score that enhanced the film's horror and humor. He used a symphonic orchestra, a synthesizer, and a theremin to create a variety of sounds and effects that matched the film's mood and themes.

The score for The Howling consists of several motifs and themes that recur throughout the film. The main theme is a fast and rhythmic melody that represents the action and the chase scenes. It is first heard in the opening scene, where the reporter meets the serial killer in a porn shop. It is then repeated in various variations and arrangements throughout the film, especially in scenes where the werewolves attack or pursue their victims.

The second theme is a slow and eerie motif that represents the mystery and the horror of the werewolves. It is first heard in the scene where the reporter arrives at the retreat and meets its strange inhabitants. It is then used in scenes where the werewolves reveal their true nature or transform into their beastly forms. The motif consists of low and ominous notes played by strings and brass instruments, mixed with electronic sounds and theremin that create a sense of dread and suspense.

The third theme is a romantic and melancholic motif that represents the love and the tragedy of the main characters. It is first heard in the scene where the reporter reunites with her husband at the retreat. It is then used in scenes where they express their feelings or face their fate. The motif consists of soft and tender notes played by piano and flute, mixed with electronic sounds that create a sense of sadness and nostalgia.

The score for The Howling was nominated for a Saturn Award for Best Music, but lost to John Williams' score for Raiders of the Lost Ark. However, it was widely praised by critics and audiences alike, and it became one of Donaggio's most acclaimed scores. It also marked his first collaboration with Joe Dante, who became one of his frequent partners.

Pino Donaggio: The Awards and Recognition

Pino Donaggio's work in film and television music has earned him many awards and recognition from critics, audiences, and peers. He has won two Italian Golden Globe Awards, one for Best Original Song for "Io che non vivo" in 1966, and one for Best Score for Passion in 2013. He has also been nominated for many other prizes, such as BAFTA, Saturn, Emmy, David di Donatello, Nastro d'Argento, and Razzie.

Some of his most notable nominations are:

• He was nominated for an Academy Award for Best Original Score for Carrie in 1977, but lost to Jerry Goldsmith's score for The Omen. He was also nominated for a Grammy Award for Best Album of Original Score Written for a Motion Picture or Television Special for Carrie in 1978, but lost to John Williams' score for Star Wars.
• He was nominated for a BAFTA Award for Best Film Music for Dressed to Kill in 1981, but lost to Michael Nyman's score for The Draughtsman's Contract. He was also nominated for a Saturn Award for Best Music for Dressed to Kill in 1981, but lost to John Barry's score for Somewhere in Time.
• He was nominated for an Emmy Award for Outstanding Music Composition for a Miniseries, Movie or a Special (Original Dramatic Score) for Mistral's Daughter in 1985, but lost to Laurence Rosenthal's score for Peter the Great. He was also nominated for a Golden Globe Award for Best Original Score - Motion Picture for Mistral's Daughter in 1985, but lost to Maurice Jarre's score for A Passage to India.
• He was nominated for a Razzie Award for Worst Original Score for Raising Cain in 1993, but lost to Alan Silvestri's score for Stop! Or My Mom Will Shoot. He was also nominated for a Saturn Award for Best Music for Raising Cain in 1993, but lost to Danny Elfman's score for Batman Returns.
• He was nominated for a David di Donatello Award for Best Musician (Migliore Musicista) for L'Uomo che ama in 2009, but lost to Paolo Buonvino's score for Italians. He was also nominated for a Nastro d'Argento Award (Silver Ribbon) for Best Score (Migliore Colonna Sonora) for L'Uomo che ama in 2009, but lost to Ennio Morricone's score for Baaria.

Pino Donaggio's influence on other composers and filmmakers is also remarkable. He has inspired many artists with his style and techniques, such as John Williams, Danny Elfman, Hans Zimmer, Quentin Tarantino, Eli Roth, Rob Zombie, and James Wan. Some of them have paid tribute to him by using his music or referencing his scores in their works.

Some of the examples are:

• John Williams used a similar motif to Pino Donaggio's main theme from The Howling in his score for E.T. the Extra-Terrestrial, especially in the scene where E.T. flies with Elliott on his bike.
• Danny Elfman used a similar motif to Pino Donaggio's main theme from Dressed to Kill in his score for Batman Returns, especially in the scene where Catwoman is reborn.
• Hans Zimmer used a similar motif to Pino Donaggio's main theme from Raising Cain in his score for The Dark Knight Rises, especially in the scene where Bane breaks Batman's back.
• Quentin Tarantino used Pino Donaggio's song "Sally and Jack" from Blow Out in his film Death Proof, in the scene where Stuntman Mike kills a group of women with his car.
• Eli Roth used Pino Donaggio's song "You'll Never Know" from Carrie in his film Hostel: Part II, in the scene where a woman is tortured and killed by a sadist.
• Rob Zombie used Pino Donaggio's song "Bucket of Blood" from The Howling in his film The Devil's Rejects, in the scene where a group of killers escape from a motel shootout.
• James Wan used Pino Donaggio's song "I Don't Want to Be Born" from The Devil Within Her in his film Insidious: Chapter 2, in the scene where a woman is possessed by a demon.

Pino Donaggio is considered one of the masters of thrilling soundtracks, and his music has left a lasting mark on film and television history.

Pino Donaggio: The Legacy and Future Projects

Pino Donaggio's legacy and future projects are both impressive and inspiring. He is still active and working in the film and television industry, and he has a loyal fan base and a cult following. He lives and works in Venice, where he was born, and he continues to create music that reflects his personality and his passion.

He has composed music for over 200 films and television shows, spanning from different genres and countries. He has worked with some of the most talented and visionary directors in cinema history, such as Nicolas Roeg, Brian De Palma, Joe Dante, Dario Argento, Monte Hellman, Don Mancini, Paul Verhoeven, Roman Polanski, Oliver Stone, Wes Craven, and many others. He has also collaborated with some of the most famous and acclaimed actors and actresses in the industry, such as Donald Sutherland, Julie Christie, Sissy Spacek, John Travolta, Nancy Allen, Michael Caine, Angie Dickinson, Melanie Griffith, Craig Wasson, John Lithgow, Rachel McAdams, Noomi Rapace, Stefania Sandrelli, Monica Bellucci, Isabelle Huppert, Gerard Depardieu, Al Pacino, Johnny Depp, Winona Ryder, Christina Ricci, Jennifer Tilly, Brad Dourif, etc.

He has created some of the most memorable and recognizable scores in film history, such as Carrie, Dressed to Kill, The Howling, Blow Out, Body Double, Raising Cain, Passion, etc. He has also contributed to some of the most popular and influential horror franchises, such as The Howling, Piranha, Child's Play, etc. He has also composed music for some of the most successful and acclaimed television shows, such as Mistral's Daughter, The Sopranos, Dominion, etc.

He has won two Italian Golden Globe Awards, and has been nominated for many other prizes, such as Academy Award, BAFTA, Saturn, Emmy, David di Donatello, Nastro d'Argento, and Razzie. He has also received many honors and tributes for his work, such as Lifetime Achievement Award from World Soundtrack Academy in 2013, Career Award from Venice Film Festival in 2015, and Honorary Award from FantaFestival in 2017.

He is planning to work on new projects in the near future, such as a documentary about his life and career, a musical based on his songs, and a new film score for Brian De Palma's upcoming thriller Predator.

Pino Donaggio is one of the masters of thrilling soundtracks, and his music has left a lasting mark on film and television history. He is also one of the most versatile and prolific composers in the industry, and he continues to create music that reflects his personality and his passion.

Pino Donaggio: The Legacy and Future Projects

Pino Donaggio's legacy and future projects are both impressive and inspiring. He is still active and working in the film and television industry, and he has a loyal fan base and a cult following. He lives and works in Venice, where he was born, and he continues to create music that reflects his personality and his passion.

He has composed music for over 200 films and television shows, spanning from different genres and countries. He has worked with some of the most talented and visionary directors in cinema history, such as Nicolas Roeg, Brian De Palma, Joe Dante, Dario Argento, Monte Hellman, Don Mancini, Paul Verhoeven, Roman Polanski, Oliver Stone, Wes Craven, and many others. He has also collaborated with some of the most famous and acclaimed actors and actresses in the industry, such as Donald Sutherland, Julie Christie, Sissy Spacek, John Travolta, Nancy Allen, Michael Caine, Angie Dickinson, Melanie Griffith, Craig Wasson, John Lithgow, Rachel McAdams, Noomi Rapace, Stefania Sandrelli, Monica Bellucci, Isabelle Huppert, Gerard Depardieu, Al Pacino, Johnny Depp, Winona Ryder, Christina Ricci, Jennifer Tilly, Brad Dourif, etc.

He has created some of the most memorable and recognizable scores in film history, such as Carrie, Dressed to Kill, The Howling, Blow Out, Body Double, Raising Cain, Passion, etc. He has also contributed to some of the most popular and influential horror franchises, such as The Howling, Piranha, Child's Play, etc. He has also composed music for some of the most successful and acclaimed television shows, such as Mistral's Daughter, The Sopranos, Dominion, etc.

He has won two Italian Golden Globe Awards, and has been nominated for many other prizes, such as Academy Award, BAFTA, Saturn, Emmy, David di Donatello, Nastro d'Argento, and Razzie. He has also received many honors and tributes for his work, such as Lifetime Achievement Award from World Soundtrack Academy in 2013, Career Award from Venice Film Festival in 2015, and Honorary Award from FantaFestival in 2017.

He is planning to work on new projects in the near future, such as a documentary about his life and career, a musical based on his songs, and a new film score for Brian De Palma's upcoming thriller Predator.

Pino Donaggio is one of the masters of thrilling soundtracks, and his music has left a lasting mark on film and television history. He is also one of the most versatile and prolific composers in the industry, and he continues to create music that reflects his personality and his passion.