Editing Film noir (section)

=== Music ===
The music of film noir was typically orchestral, per the Hollywood norm, but often with added dissonance.<ref>{{Cite book |last=BUTLER |first=DAVID |title=Film noir and music |publisher=Cambridge University Press |year=2016 |isbn=9781107476493 |pages=175–186 |language=English}}</ref> Many of the prime composers, like the directors and cameramen, were European émigrés, e.g., [[Max Steiner]] (''[[The Big Sleep (1946 film)|The Big Sleep]]'', ''Mildred Pierce''), [[Miklós Rózsa]] (''[[Double Indemnity]]'', ''[[The Killers (1946 film)|The Killers]]'', ''[[Criss Cross (film)|Criss Cross]]''), and [[Franz Waxman]] (''[[Fury (1936 film)|Fury]]'', ''[[Sunset Boulevard (film)|Sunset Boulevard]]'', ''[[Night and the City]]''). ''Double Indemnity'' is a seminal score, initially disliked by Paramount's music director for its harshness but strongly endorsed by director Billy Wilder and studio chief [[Buddy DeSylva]].<ref>{{cite book |last1=Rózsa |first1=Miklós |title=Double Life |date=1982 |publisher=The Baton Press |location=London |isbn=0-85936-209-4 |pages=121–122}}</ref> There is a widespread popular impression that "sleazy" jazz saxophone and pizzicato bass constitute the sound of noir, but those characteristics arose much later, as in the late-1950s music of [[Henry Mancini]] for ''[[Touch of Evil]]'' and television's ''[[Peter Gunn]]''. [[Bernard Herrmann]]'s score for ''[[Taxi Driver]]'' makes heavy use of saxophone.{{Citation needed|date=July 2023}}