The South Is Dead

No Steiner project would be more difficult or emotionally draining than Gone with the Wind. This chapter explores how the composer wrote and/or supervised more than three hours of orchestral music in less than two and a half months (while concurrently writing three other film scores), amid constant and often contradictory direction from Selznick. The producer was more combatant than collaborator: “the whole thing had a nightmare quality,” recalled one participant. Due to a near-impossible deadline, Steiner was forced to have members of his team compose several GWTW music cues. These collaborators always worked under Max’s direction, using Steiner-composed leitmotivs. The chapter uses multiple examples of these cues to draw the distinction between the kind of “ghost writing” by uncredited composers that was common in Hollywood, and GWTW, a case in which Steiner remained the primary creative force behind this, his best-loved score.