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I hope the reader will get the feeling of warmth that I received in my visits with the five sculptors. Instead of British reserve I found an outgoing, relaxed air in which each artist gave freely of his or her work or life, without hesitation. Each sculptor has a different atmosphere and aura about himself, all fascinating, all filled with a personal integrity. 28 Because of the sparse information included in credits to his films, it is hard to gauge Forma's interest in music and sound effects. e soundtrack to 5 British Sculptors was supplied by Ross-Gaffney, Inc., a company founded by Angelo Ross and James Gaffney that grew from a single cutting room in 1955 to 'the largest "one-stop" film service of its kind in the East'. By 1966, its music library contained 700 hours of recorded music and tens of thousands of effects, indexed so that clients could locate the 'exact mood or sound required'. 29 For the most part, the music chosen for 5 British Sculptors is unobtrusive and contemporary in style. Hepworth's section prominently features flutes, presumably as the nearest equivalent to the 'airy' imagery of the coast and seabirds at St Ives. Less successful is the harpsichord music, jarring in volume and mood, used in Chadwick's section, although oen the soundtrack features natural effects – birdsong, traffic, the noise of the sculptors at work. Small devices, such as the repetition of musical ideas, commentary and locations, unify the film. e opening sequence features Stonehenge and a montage of fragments from the commentary, Stonehenge recurs in Moore's section, while footage of the 1963 Battersea Park exhibition in London recurs in the sequences on Armitage, Hepworth and Moore. 28. Forma, 5 British Sculptors (work and talk), p. 5. 29. Broadcasting, 27 June 1966, p. 58. Right: LP cover of 5 British Sculptors Talk, produced by Warren Forma, cover image designed by Arnold Skolnick, LP produced by Caedmon recordings 11