This interview took place a few years ago as the label were almost ready to release their 100th compact disc.
1. Was it your own interest in film music that persuaded you to establish Digit movies the recording label ?
It was a HUGE PASSION for CINEMA and FILM MUSIC, of course! We wanted “save” the film music masterpieces from Silver and Golden ages
presenting them with the best possible presentation, packaging and sound restoration.
Digit-movies was born like a kind of game, nothing serious in the beginning…and now we are close to our 100th CD!
2. Who decides what scores are going to be issued on your label ?
The titles are decided as a STAFF project, in our staff we have people that are specialized within different genres of films etc, . Many mixed ideas together can produce very good end products.
3. Are there any soundtracks that Digit movies have wanted to release but have not been able to, due to copyright difficulties etc ?
No, luckily this has never happened all of our projects have been given the green light.
4. You have released a number of CAM soundtracks, this was something of a breakthrough as many companies had tried without luck to work with CAM, will this be an ongoing collaboration, and do you envisage releasing any westerns scores that CAM have ?
Yes, our relationship with CAM is very good.
They are very good friends and we enjoy a co-operative association with them very
Western scores from the CAM archive will be among our future releases.
5. What have been your most popular releases to date ?
SODOM & GOMORRA, LO CHIAMAVANO TRINITA’ and OK CONNERY
6.Do you try and involve the composers with the release process, ?
Yes, sometimes the composers are involved, especially Ennio Morricone, and
Composers such as Stelvio Cipriani are very friendly and cooperative!
7. Have there been any scores that you have handled that have been in such poor condition that you have been unable to restore them ?
For examples the GENTLEMAN JOE master tape was in very poor conditions.
We tried our best to restore it, anyway it was a very important Western title, having it with a just so so sound condition was still good, at least we have rescued it!
8. Italian film music seems to be as fresh and vibrant as it was back in the 1960,s and 1970,s, what do you think is the appeal of Italian movie music ?
Film Music had big names in the past , today film music is still a predominant part of actual Italian Cinema with new names such as Guerra, Buonvino, Vivaldi, Abeni,Plivio and De Scalzi etc. and Ennio Morricone, at 78, is still hugely creative and prolific.
11. Do you think that in the future, Digit movies might release some non Italian soundtracks ? Ie; British, French, German etc.
Why not!
Effectively we issued some score for American movies like PIRANHA II, CATACOMBS, and not forgetting SODOM AND GOMORRAH, possibly the most ambitious compact disc project of them all!
12. How long does it take approximately to work on a title. From start to finish ?
This varies according to the project in hand. Restoring the sound, assembling the CD master, making the graphic etc..
13. Your releases are always well packaged, wonderfully illustrated and contains notes and information on the film etc, do you think that notes and colourful illustrations and packaging is an important factor ?
Yes, Of course. The best presentation is something we wish always for making collectors around the world happy and satisfied.
14. When you look at a score that has already been issued on compact disc such as, PREPARTI LA BARA and THEY CALL ME TRINITY, what factors do you take into account before you decide to re-issue ?
The main factor to take into account is how much extra music was not included in the original release and it depends firstly on the master tapes conditions and how much indent music is available.
15. Have you a favourite film score at all ?
Claudio’s favourite score: LOGAN’S RUN by Jerry Goldsmith
Luca’s favourite score: CASPER by James Horner
Many thanks to both Luca and Claudio for their time and for answering the questions.
MOVIE MUSIC INTERNATIONAL. (MMI) . 