musical score for a film, Ron long maintained, is a piece of music in its own right, but with particular qualifications. In the first place, the musical soundtrack, by definition, is intended to augment the pictures. In that regard, as he explained, “It could be likened to an interpreter who, standing slightly to the side, tells the audience what to feel about what they are seeing.” Thus, as he added in another essay on the subject, “one should not get the idea that cine music is secondary for it has no small role in films and related subjects. It establishes and engenders the emotional reaction of the audience to the pixs. In other words, it is actually influencing audience emotional response to the film.”

His own compositions are exactly that: wonderfully memorable melodies to precisely forward the filmic message. Moreover, the L. Ron Hubbard film score melody was perfectly adaptable to any musical style, and could thus be reiterated through the film for unity. In all, he scored music for 22 Scientology training and promotional films, all underscoring the fact that, as he put it: “To grasp the role of music in cine, one first has to understand and accept that music, in itself, is capable of communication.” (For more on the subject see Ron the Filmmaker, coming soon to an Internet site).