#RAUMPATROUILLE ORION FOLGE 8 SERIES#
The series seems endless: 'Das Rätsel der roten Orchidee', 'Der Zinker', 'Das indische Tuch', 'Ein Alibi zerbricht', 'Zimmer 13', 'Der Hexer', 'Das Verrätertor', 'Der unheimliche Mönch', 'Der letzte Mohikaner', 'Onkel Toms Hütte', 'Das Geheimnis der weissen Nonne', 'Die Schlangengrube und das Pendel', 'Im Banne des Unheimlichen', the Jerry Cotton films, and many, many more. The result is not difficult to imagine: Peter Thomas's music is 100 percent Peter Thomas.Īs a film composer, his great era began in 1961 with the Edgar Wallace film 'Die seltsame Gräfin', and soon one film-music highlight followed another. To work with Peter Thomas means both action and deep discussions – and these two ingredients, combined with a great idea, provide for ideal creativity. He's a multi-instrumentalist who prefers live recordings to studio mixes, but he's very much in the know about the latest studio techniques and certainly doesn't reject them. In order to realize his ideas he invests his entire energy ('I'm still standing when others have fallen.'), his spontaneity ('Tell me when you're ready and I'll jump on the next plane!') and his musical and technical knowledge. His ideas and his propensity for experimentation know no rules or boundaries. He is an ingenious pedant who leaves nothing, absolutely nothing, to chance which concerns either himself or his music.
Both the man and his music are always good for a surprise, and indeed anything can happen, but fortunately usually in a positive respect. It is virtually impossible to describe Peter Thomas – impossible because he would almost certainly refuse to allow himself to be described or pigeon-holed in any way.