In the early 1980s, budding TV and movie composer Brad Fiedel landed a gig on a low-budget sci-fi film (from the up-and-coming director of Piranha 2) that seemed like the perfect way to flex his burgeoning electronic soundtrack muscle. Little did either he or director James Cameron know that it was an opportunity that would change both their lives.
That movie was The Terminator which, alongside its sequel and further work alongside Cameron, would cement Fiedel's place as a pioneer in the field of movie composition, recording and sound design, and pave the way for the tech and process that every big-name composer enjoys today.
