If you don’t recognize Salvati’s name, if you’re a regular here, then you know his work. He was a cinematographer that worked with Lucio Fulci on 11 different films, including some of his best titles. Films like The Psychic (1977), Zombie (1979), City of the Living Dead (1980), The Beyond (1981), and House by the Cemetery (1981). He worked on what was supposed to be Fulci’s big return with The Wax Mask (1997), but Fulci passed away, but Salvati still worked on it with the new director, Sergio Stivaletti. He also worked with Charles Band on Crawlspace (1986) and Puppet Master (1989).
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Wow. This one is a bitch to accept. Yes, the Maestro was 91, but for the hours and hours that I, as well as millions of other film lovers, have been entranced by his music, it still hurts. Even if we just talked about the scores he did for horror and giallo genres, from Dario Argento’s first trilogy of films, Fulci’s A Lizard in a Woman’s Skin, Mario Caiano’s Nightmare Castle, Aldo Lado’s Short Night of Glass Dolls, to even John Carpenter’s The Thing, his scores always made an impact. That is not even getting into what he did for the western. Even if people didn’t know Morricone’s name or what movies he scored, if you started to play the opening theme from The Good, the Bad, and the Ugly, they would know it.
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