- Born
- Birth nameBrad Ira Fiedel
- Extremely talented, prolific and versatile composer Brad Fiedel was born on March 10, 1951 in New York City. His mother was a dancer and his father was a composer and musician. Brad started out as a keyboardist for Hall & Oates. Fiedel first began composing music for movies in the mid-70s for such low-budget pictures as The Astrologer (1975), Deadly Hero (1975) and the raunchy Jaws (1975) porno parody Gums (1976). Although best known for his strong, lively and driving scores for action movies and thrillers, Brad has displayed considerable range and skill with his equally fine scores for dramas (Immediate Family (1989) and The Accused (1988)), comedies (Straight Talk (1992) and Fraternity Vacation (1985)) and numerous made-for-TV features. Fiedel is widely regarded as a vital and creative pioneer for his expert and innovative use of electronic instruments and synthesizers in his music. Brad achieved his greatest success with the incredibly powerful and hard-charging metallic score for The Terminator (1984) -- he was deservedly nominated for a Saturn Award for Best Music for his outstanding and unforgettable work -- and its sequel Terminator 2: Judgment Day (1991). He collaborated with "Terminator" director James Cameron a third time on the blockbuster smash True Lies (1994). In addition, Fiedel supplied the chillingly effective scores for the horror pictures Just Before Dawn (1981), Eyes of Fire (1983), Fright Night (1985), the Made-for-TV The Midnight Hour (1985) and The Serpent and the Rainbow (1988). He's also written and/or performed songs that are featured on several film soundtracks. Alas, Brad Fiedel retired from composing scores for both theatrical features and made-for-TV movies, alike, in the late 90s. He's married to actress Ann Dusenberry.- IMDb Mini Biography By: woodyanders
- SpouseAnn Dusenberry(May 8, 1993 - present) (2 children)
- ChildrenAlixandra FiedelZoe Fiedel
- His most famous piece is the The Terminator (1984) theme tune.
- Has two daughters: Alexander, and Zoe.
- Terminator [The Terminator (1984)] was very difficult because I was using many different synths and sequencers and because I didn't have MIDI available on many of them I had to sync them by hand. This is why the main theme is in a very odd time signature. The looping of the Prophet 10 was just a little short of a complete measure.
- My music was really designed very, very much to go to the image. I was never thinking about people listening to it without the image.
- I really think that our job is to use whatever exists in the world, or even create an instrument for a score because there's nothing in the universe that sounds like what your imagination is wanting for that film. Electronics and computers help that, but sometimes, literally, you have to take a piano string and string it across some kind of open box and bow it with a cello bow or something. You have to come up with a new sound, and that's always fun.
- I've always been surprised that people enjoy listening to my soundtracks, because I felt like I was part of a team, the filmmaking team. I always loved movies and I just happened to have the skill to create sounds and music and that's just what got me on the team, but it was always about the movie.
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