as distributor. Set construction included a replica of part of Las Vegas' McCarran International Airport—complete with a jetway and jet airliner (built from the nose section of a crashed plane)—that was used for the penultimate scene. The sets for the film took up all of the sound-stage space at Coppola's recently acquired American Zoetrope studio. One from the Heart features an original soundtrack from Crystal Gayle and Tom Waits. Waits received an Academy Award nomination for Best Musical Score. Dean Tavoularis, whose art department was next door to the musical rehearsal space, used Waits' music as tonal inspiration, incorporating it into the film's highly stylized "look". Mickey Hart and musician Bobby Vega also were credited for their contributions to the production. Coppola used the opportunity to introduce a more economic method of filmmaking. Dubbed the "electronic cinema", it involved shooting and editing a visual storyboard on videotape, allowing for a reference during the actual shooting on film. Gene Kelly was a dance consultant for the sequence involving Teri Garr and Raul Julia. Kelly disagreed with Coppola over the story the dance was meant to portray. Coppola used his own preference for the theatrical release, although the film's 2003 restoration depicted Kelly’s original idea. Release A screening of an unfinished print in San Francisco, California in August 1981 resulted in many exhibitors backing out of showing the film. Paramount decided on a general release in February 1982. The studio also stated that it would hold Oscar-consideration screenings in December 1981, but backed out; Coppola perceived that Paramount wanted to focus on Oscar campaigns for Reds and Ragtime, but the studio insisted that they didn't want to pose a threat to the wide release. Coppola booked a New York City preview on January 15, 1982 at Radio City Music Hall without the authorization of Paramount. These screenings further soured the relationship between Coppola and Paramount, which was problematic during the arduous shooting and only increased as a result of the poor screening in San Francisco. Paramount ultimately pulled out of the distribution of the film despite the fact that it was booked in theaters throughout America. At almost the last minute, Coppola forged a new deal with Columbia Pictures. The commercial failure of the film resulted in a decade of financial turmoil for Coppola and his production companies. Critical reception As of August 2022, it has a 49% "rotten" rating on Rotten