The Pawnbroker had as complex a score as I’ve ever worked on. In the opening scene, Sol Nazerman, a Jewish refugee from Germany, is sitting in a suburban backyard, soaking up the sun. His sister asks for a loan so she and her family can take a vacation in Europe that summer. To Nazerman, everything about Europe is a cesspool. He says, “Europe? It’s rather like a stink, as I remember.” The next sequence shows him driving into New York City, to his pawnshop in Harlem. Those two scenes set up the conception of the score. Earlier, I said that The Pawnbroker was about how and why we establish our own prisons. At the beginning of the movie, Nazerman is encased in his own coldness. He has tried desperately to feel no emotion, and he has succeeded. The story of the movie is how his life in Harlem breaks down the wall of ice with which he has surrounded himself.

The concept of the score was “Harlem triumphant!” —that the life, pain, and energy of his life there forced him to feel again. I decided I wanted two musical themes: one representing Europe, the other Harlem. The European theme was to be classical in its nature, precise but rather soft, a feeling of something old. The Harlem theme, by contrast, would be percussive, with lots of brass, wild in feeling—containing the most modern jazz sound that could be created.