Editing Don't Look Now (section)

=== Scoring ===
{{listen
|filename=Don't Look Now score.ogg
|title=Pino Donaggio – Don't Look Now
|description=Sample from "Laura's Theme"
}}
The [[Film score|score]] was composed by [[Pino Donaggio]], a native Venetian who was a popular singer at the time (he had a hit with "lo Che Non Vivo" which was covered by [[Dusty Springfield]] in 1966 as "[[You Don't Have to Say You Love Me]]"); prior to ''Don't Look Now'', Donaggio had never scored a film. Ugo Mariotti, a casting director on the film, spotted Donaggio on a [[Vaporetto]] on the [[Grand Canal (Venice)|Grand Canal]] in Venice, and believing it to be a "sign", contacted him to see if he would be interested in working on the film. Donaggio was reluctant at first because he did not understand why they would be interested in someone who had no experience of scoring films.<ref name="Gregory (2006)"/>

Donaggio had no interest in making soundtracks for films at the time, but was introduced to Nicolas Roeg who decided to try him out and asked him to write something for the beginning of the film. Roeg was enthusiastic about the result but the London-based producers were resistant to hiring someone who had no background in films. The film's financiers were pleased with Donaggio's work and overruled the producers. As well as composing the score, Donaggio performed a substantial portion of it himself. The [[piano]] pieces were performed by Donaggio, despite the fact that he was not very accomplished at playing the piano. The piano pieces are usually associated with Christine in the film, and Roeg wanted them to have an innocent sound reminiscent of a little girl learning to play the piano. Donaggio claims that since he was not very good at playing the piano, the pieces had an unsure style to them, perfect for the effect they were trying to capture.<ref name="Gregory (2006)"/>

The only disagreement over the musical direction of the film was for the score accompanying the love scene.  Donaggio composed a grand [[orchestra]]l piece, but Roeg thought the effect was excessive, and wanted it toned down. In the end the scene just used a combination of the piano, the [[flute]], an [[acoustic guitar]] and an [[acoustic bass guitar]]. The piano was played by Donaggio again, who also played the flute; in contrast to his skill as a pianist, Donaggio was an accomplished flautist. Donaggio conceded that the more low-key theme worked better in the sequence and ditched the high strings orchestral piece, reworking it for the funeral scene at the end of the film.<ref name="Gregory (2006)"/>

Donaggio won a "best soundtrack of the year" award for his work on the film, which gave him the confidence to quit his successful singing career and embark on a career scoring films. Donaggio became a regular composer for [[Brian De Palma]], and credits Nicolas Roeg with giving him his first lesson in writing film scores, and expressed a desire to work with him again.<ref name="Gregory (2006)"/> Donaggio's score later achieved newfound recognition for its inclusion in the fourth episode of [[HBO]] series ''[[Euphoria (American TV series)|Euphoria]]''; music supervisor Jen Malone noted that the cues used were the most difficult to obtain out of all of the music used in the series.<ref name="Variety (2019)" />