many of his old friends felt cut off after his marriage. Brennan shunned the media and refused all interview requests. Recording of Waits's One from the Heart soundtrack began in October 1980 and continued until September 1981. A number of the tracks were recorded as duets with Crystal Gayle; Waits had initially planned to duet with Midler but she proved unavailable. The film was released in 1982, to largely poor reviews. Waits makes a small cameo in it, playing a trumpet in a crowd scene. Waits's soundtrack album, also titled One from the Heart, was released by Columbia Records in 1982. Waits had had his own misgivings about the album, thinking it over-produced. Humphries thought that working with Coppola was an important move in Waits's career: it "led directly to Waits moving from cult (i.e. largely unknown) artiste to center-stage." Newly married and with his Elektra-Asylum contract completed, Waits decided that it was time to artistically reinvent himself. He wanted to move away from using Howe as his producer, although the two parted on good terms. With Brennan's help, he began the process of firing Cohen as his manager, with he and Brennan taking on managerial responsibilities themselves. He came to believe that Cohen had been swindling him out of much of his earnings, later relating that "I thought I was a millionaire and it turned out I had, like, twenty bucks." Waits credited Brennan with introducing him to much new music, most notably the work of Captain Beefheart, a key influence on the direction in which he wanted to take his music. He later noted that "once you've heard Beefheart it's hard to wash him out of your clothes. It stains, like coffee or blood." He also came under the influence of Harry Partch, a composer who created his own instruments out of everyday materials. Waits began to use images rather than moods or characters as the basis for his songs. Waits wrote the songs which would be included on the album Swordfishtrombones during a two-week trip to Ireland. He recorded it at Sunset Sound studios and produced the album himself; Brennan often attended the sessions and gave him advice. Swordfishtrombones abandoned the jazz sound characteristic of his earlier work; it was his first album not to feature a saxophone. When the album was finished, he took it to Asylum, but they declined to release it. Waits wanted to