“After the war, Zeisl, Toch and Korngold left studio work as quickly as they could, sensitive to the harm it would do their reputations and fearful of the damage inflicted on their talent by years of creativity on demand. After 1945, Waxman reduced his studio work to less than one film a year, but Eisler was keen to continue, and slowly but surely he started to demonstrate new direc- tions in film music and to produce convincing cinematic effects with his counter-intuitive ideas and theories. It must remain a matter of speculation whether he could have changed the course of Hollywood film music had he not been forcibly removed from the United States by the House of Un-American activities in 1948.”

– from Forbidden Music