A romantic score, with a Gallic flavor in the overture. I got on well with Wyler. There's a little chase scene at the end of the picture where Peter O'Toole and Audrey Hepburn come out of the closet and the French comedian Moustache has the statue. There's a chase in the museum and I treated it in a very burlesque way—sort of slipping on banana skins followed by a crash from the orchestra, and running semiquavers all over the place… I thought I'd gone too far but Wyler loved it. There were also some claustrophobic kissing scenes between Hepburn and O'Toole: I scored them in a fairly broad way and was afraid it was too musically extrovert, but again he loved that. He liked the opening, too, that little French boulevard piece… We didn't really have any discussions over the music for the picture. I remember there was one sequence he didn't like but that wasn't because he'd given me any other instructions — he just didn't like it when he heard it. I can't remember the exact details, but there was some sort of presentation scene and I was underscoring some knowing looks between people in it. At the end of the recording Wyler came up to me and very politely said, "Mr. Williams, would you mind re-writing that sequence?" And I said, "Of course not. What is it you don't like?" And he said, "Do something like Elgar. Forget the two characters and play the ceremony of the thing. You know, trumpets and cymbals, so that they can make a regal entry." So in the interim before the next recording session I wrote a short march, and he loved that. That's the only scene where we had any disagreement. He was very nice.