In Europe, the most widely-seen version of Un Chien andalou is one produced between 1959-60 by French distributor Les Grands Films Classiques. This version of the sound film is the one closest to the director’s instructions. Faced with the impossibility of knowing for sure if the music was exactly right, we weighed the possibility of making two variations based on the information gathered. Indeed, there are two tangos entitled Tango Argentino and Recuerdo that were quite famous in the twenties, but they are not the ones present in the 1960 version. Since we think it’s possible that these pieces, famous during the era in which Buñuel presented his film, were the ones actually used, we made a new version using these tangos. Then finally, we abandoned the surrealist method and moved directly to Dalí’s paranoid-critical method, considering the possibility that Buñuel and Dalí had thought of something more in regard to the music from Tristan and Isolde when they were writing the script for Un Chien andalou. This suggestion comes from a intriguing painting Dalí made in 1943, called Tristán e Isolda, which shows two figures, a man and a woman, buried up to their waists. The painting is almost an exact transposition of the final image in Un Chien andalou. If the protagonists of the film are Tristan and Isolde, or at least for Dalí, then perhaps the story of the film had points in common with the plot of the opera.

Ferrán Alberich, in “Cinegrafie”, n. 16, 2003