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The music is creepy both with the monster and the jazzy sound. Different kind of creepy, but just as effective. I was instantly transported to the 60s and 70s and didn't leave until the score was over.(Soundtrack Dreams).MovieScore Media continues its exploration of fascinating documentaries with the docudrama The Creep Behind the Camera, a shocking exposé written and directed by Pete Schuermann about notorious cult filmmaker Art J. Nelson.Pete and John Schuermann have been active in the Colorado filmmaking community for over 30 years. Originally from Long Island, NY, when the Schuermann family moved to Colorado in 1977 the experience had a profound effect on the budding filmmakers. John also composed the music and created sound design for over half a dozen feature films and shorts. His most recent work is the underwater thriller Halcyon. John is also a writer and director himself, hard at work on his own film The Gospel According to Stephenson, currently in pre-production. My main goal in writing the music was to establish the era in which the events took place the late 50s through the mid 60s and to musically represent Art J.Nelson, the titular Creep explains John about the music. As he was a psychopath who conned his way into making The Creeping Terror, I tried to convey the idea that the real monster was behind the camera using two primary musical concepts. The first was to employ familiar monster movie tropes whenever the Art would commit particularly monstrous acts in the film, and then juxtapose this with music I refer to as sleaze jazz to represent the con man element of his character. I thought this approach would fit the darkly comic nature of the film as a whole and painted a portrait of a character who was a creep in every sense of the word.