was terrible, just overstated and dreadful." He decided instead to use the music he had given the composer as inspiration. "In other words, rather than get bad imitation Stravinsky, I might as well have the real thing." Bernard Herrmann, famous for his scores for Orson Welles and Alfred Hitchcock, including the staccato string bursts that accompanied the killings in Psycho, was offered the opportunity to score the finished film. He was flown from London to New York, where he viewed a rough cut, and declined. He felt the minimal opening credits deprived a composer of the opportunity to establish a musical mood with an overture, and only Welles' Citizen Kane had been strong enough as a film to overcome that. In a 1975 interview with High Fidelity magazine, Herrmann said that Friedkin objected to his intention to use an organ in the score, saying "I don't want any Catholic music in my picture" and insisted on sharing credit with him for the music. In the soundtrack liner notes for his 1977 film, Sorcerer, Friedkin said that if he had heard the music of Tangerine Dream earlier, then he would have had them score The Exorcist. Instead, he used modern classical compositions, including portions of the 1972 Cello Concerto No. 1, of Polymorphia, and other pieces by Polish composer Krzysztof Penderecki, Five Pieces for Orchestra by Austrian composer Anton Webern as well as some original music by Jack Nitzsche. The music was heard only during scene transitions. The 2000 "​【51 m】Version You've Never Seen" features new music by Steve Boeddeker, as well as brief source music by Les Baxter. What is now considered the movie's theme, the piano-based melody which opens Tubular Bells, the 1973 debut album by English progressive rock musician Mike Oldfield, became very popular after the film's release, although Oldfield was not impressed with the way it was used. Friedkin recalled in 2015 that he had wanted something like Brahms' "Lullaby" with "a kind of childhood feel". He had gone to see Calley, who did not understand what the director wanted, but directed him to the nearby music library, where he found Oldfield's record, which Warners was not planning to release. "But I listened to that refrain, and it hooked me, and we won the rights to it" he said. "I think it sold 10 or 20 million records. And it was an accident." There are 17 minutes