Really interesting piece about the choice of Georg Solti's 1965 recording of the “Ride of the Valkyries,” for the air calvary assault scene in the movie.

The problem with many of the versions of “Valkyries” that I rejected was they were monotonously rhythmic: The result was a robotic stagger, a simulation of musical life rather than the real thing.

How I Tried to Transplant the Musical Heart of Apocalypse Now Oscar-winning editor Walter Murch describes the surprising idiosyncrasies of film scoring.