![]() ![]() His subtle yet profound use of synthesizers as well as a symphony orchestra and the classical guitar created an atmosphere that made the footage under the sea tense and suffocating, full of the kind of adrenaline-pumping wonder Petersen's narrative called for. In his episodic moments where merely incidental music was called for, Doldinger composed mini-epochs of motion and emotion. Doldinger fashioned a score that felt more like a symphony than a soundtrack. Doldinger apparently felt it was a gift from the heavens because he put everything he'd forgotten into creating a soundtrack that was every bit as fine a piece of work as the film it accompanied. Enter director Wolfgang Petersen who was a Doldinger fan and recruited him to write a score for his WWII epoch about the war in the ocean. His groundbreaking jazz-rock fusion band Passport had become mired in the muck of schlocky feel-good instrumentals that didn't even register with his most ardent fans anymore, and he had lost his musical direction. It was a good thing Klaus Doldinger was offered this opportunity: to write a score for a German film utilizing all the various forms of his musical training.
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