musicWilliam Motzing

Music Recording Studio 301Music Engineer Martin BengeAssistant to the Composer Bette Motzing

Additional Music

'A Short Walk'Performed by Andrew DuffieldComposed by Andrew Duffield/James Cockington

'What It Is'Performed by Andrew DuffieldComposed by Andrew Duffield

'God Must Be Driving'Performed by Andrew DuffieldComposed by Andrew Duffield

All Andrew Duffield tracks from the album'Ten Happy Fingers'

'Take It to The Bridge'Performed by I'm Talking,Composed by I'm Talking

by permission of Regular Music Pty. Ltd.Thanks to Martin Fabinyi

'Excerpts from a 1985 Demo Collection'Performed by Andrew DuffieldComposed by Andrew Duffieldby permission of Mushroom Music Pty. Ltd.

'Promises To Keep' Disco TrackWritten and Produced by Louie Shelton

Javanese Gamelon musicby arrangement with Nonesuch Records and WEA

Balinese Gamelon musicperformed by Sekehe Gong Taruma Jaya Lambing

Composer William Motzing:

Composer William Motzing was on something of a roll in the early 1980s in terms of

scoring feature films. In short order, he composed the score for the cult film The Return of Captain Invincible, the admittedly woeful comedy Stanley - Every Home Should Have One, the under-appreciated story of Berlei bras in Australia, Undercover, John Duigan's One Night Stand, Silver City, and The Coca-Cola Kid, though in the latter case he shared duties with Tim Finn, who did the end titles song and a few other bits, including a Coca-Cola advertising ditty seen in the body of the film.

Motzing had previously worked with director Phillip Noyce on Newsfront, produced by David Elfick, who also did Undercover.

William Motzing's site, Spare Parts Productions, active as of October 2014, provides this short CV:

William Motzing (BMus, MMus) was born in the USA. He graduated with a Bachelor of Music from Eastman School of Music in Rochester, New York and continued his studies earning a Masters Degree from Manhattan School of Music.He went on to study conducting with Ernest Matteo, Nicholas Flagello, Ionel Perlea and Olga von Geczy; composition with Ludmila Ulehla and John Mayer at Birmingham Conservatoire(UK) and arranging with Rayburn Wright.

During his career as a professional trombonist Bill performed with Kai Winding Septet, Jon Eardley Quintet, Gerry Mulligan Big Band,Bill Russo Big Band, Sal Salvador Big Band, Eastman-Rochester Symphony and the Pittsburgh Symphony. His diverse career has also included being the sound designer for Blood,Sweat and Tears for three years.

In the classical arena Bill has conducted major symphony orchestras including the Australian Chamber Orchestra and the Australian Opera and Ballet Orchestras. In Europe he has conducted the BBC Radio Orchestra,the Irish Radio/Television Concert Orchestra, the Czech Philharmonic, the Budapest Opera Orchestra and the Babelsberg Film Studio Orchestra in Berlin.

Bill has composed, arranged, produced and conducted stage productions including Academy Award presentations and over 100 albums and CDs in the USA, Australia and Europe. As a composer/arranger his film credits include The Quiet American, Soul Food and the Simpsons. In Australia he is well represented via filmscores and television series including Mother and Son, Come in Spinner, Brides of Christ and Young Einstein.

He currently teaches theory, arranging, modern jazz history, improvisation and ensembles at the Sydney Conservatorium of Music. Bill continues to perform his works regularly in Sydney and inspires all musicians he comes in contact with.

(Below: William Motzing)

(Below: William Motzing on the right, here conducting the music for the Australian feature film Kokoda at Studios 301, with composer John Gray on the left)

One aspect of the soundtrack for Shadows of the Peacock, apart from the exotic presence of Javanese music in the Thai locations, is the use of a number of tracks by Andrew Duffield.

Duffield is too well known to detail at length here. He had his own website here at

time of writing, and a wiki here, and there is a wiki about the pop band The Models, in which Duffield was a notable figure, here, until he decided to maintain artistic credibility and approval of his peers, and parted ways with the band (or was unceremoniously dumped, depending on which version is read).

Duffield’s website provides these details about the album from which the instrumental music was taken for the film. According to his website, it was his first solo album, and was released in 1988:

(Below: Andrew Duffield)

(Below: The Models early in their career - Andrew Duffield is on the right)

(Below: The Models later in life, Sean Kelly left, Andrew Duffield centre, and Mark Ferrie right).