had arguments with each other during the making of Golan's other works, and when working on The Apple, they nearly got into a fistfight. It was by the time Hoenig suggested to Golan that a shot was "out of focus" that he fired him from the project. This and the shooting of what Recht and Yotvat considered the film's "horrible" ending sequence is what persuaded the two to leave Berlin and go back to Israel. Jakubowicz replaced Hoenig's position and claimed in a retrospective that he enjoyed editing The Apple, especially the film's musical scenes. However, he also described it as a "weird experience" due to the film's over-the-top nature and kitsch plot. The Apple is edited in a fast-paced music video-esque manner. According to Ackland, "Heaven was three quarters of the script. It was the whole point of the movie." Cutting out most of the story's heaven aspects, including the "Paradise Day" scene, were Golan's methods of not going too "extreme" with the religious undertones in order for the film to be more "acceptable" and less "formidable" for audiences. Yotvat suggested Golan's added comical elements of the story was also due to his focus on the film's accessibility. Jakubowicz later edited another musical film Golan worked on, an adaptation of The Threepenny Opera (1928) named Mack the Knife (1989). Music The recording and mixing of The Apple's score took place at The Music Centre, a studio in Wembley, and cost an "amazing budget" to complete, Recht said. Richard Goldblatt served as the audio engineer. The tracks were remixed to Dolby Stereo on a Neve console for the film by The Village Recorder, the only studio Recht could find that had a Neve. The studio charged $7,000 a day for remixing the tracks, and Golan sent a messenger to give the studio money. The Apple's soundtrack features sounds and production techniques that were never heard on any other record before, such as the use of pink noise on the snare drums. The London Philharmonic Orchestra performed the orchestral arrangements for both the songs and score for the film. Clinton served as the conductor and was initially "scared shitless" as it was his first time conducting a full professional orchestra. Instead of a baton, he conducted the orchestra with chopsticks he received from a Chinese restaurant that was two buildings away from the studio where the soundtrack was recorded. Recht recalled