“She was such a towering circus herself, she didn’t need anything,” says Cantelon of the documentary’s subject. “My pieces tend to be longer. If there is a cue with an arc that’s over three or four minutes or longer, the music falls out. [Mavromichalis] uses music like paint. I wrote big suites of music from my heart about all the elements of ‘Olympia’ that touched me. He would then cut them up and place to picture as he wished, like paint on his canvas. Writing score to try and hit something on the nose doesn’t produce music that is as valid as writing my impressions of a character. I was taught early on in scoring film that when you write in that way, you must relinquish everything and trust the director to do what he feels.”
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