Shirley Clarke featured two alternative soundtracks, one by the Barrons and one by jazz musician Teo Macero. The film's two versions showed the same four-minute film of New York City bridges. Showing the two versions back-to-back showed how different soundtracks affected the viewer's perception of the film. In 1956 the Barrons composed the very first electronic score for a commercial film — Forbidden Planet, released by Metro-Goldwyn-Mayer. The Barrons approached Dore Schary (MGM's executive producer) at an exhibit of Schary's wife's paintings in 1955. He hired them soon after, when the film was in post-production. Forbidden Planet The soundtrack for Forbidden Planet (1956) is today recognized as the first entirely electronic score for a film. Eerie and sinister, the soundtrack was unlike anything that audiences had heard before. Music historians have often noted how groundbreaking the soundtrack was in the development of electronic music. On the album sleeve notes of the Forbidden Planet soundtrack, Louis and Bebe explain: We design and construct electronic circuits [that] function electronically in a manner remarkably similar to the way that lower life-forms function psychologically. [. . .]. In scoring Forbidden Planet – as in all of our work – we created individual cybernetics circuits for particular themes and leit motifs, rather than using standard sound generators. Actually, each circuit has a characteristic activity pattern as well as a "voice". [. . .]. We were delighted to hear people tell us that the tonalities in Forbidden Planet remind them of what their dreams sound like. The producers of the film had originally wanted to hire Harry Partch to do the music score. The Barrons were brought in to do only about twenty minutes of sound effects. After the producers heard the initial sample score, the Barrons were assigned an hour and ten minutes of the rest of the film. The studio wanted to move the couple to Hollywood where most of the film scores were produced at the time. But the couple would not budge, and took the work back to their New York studio. The music and the sound effects stunned the audience. During the preview of the movie when the sounds of the spaceship landing on Altair IV filled the theater, the audience broke out in spontaneous applause. Later, the Barrons turned over their audio creation to GNP Crescendo records for distribution. GNP had previously demonstrated its expertise in producing and marketing science