Is it true that you don’t like drawing when you’re working on film music?
I’ve almost always listened to the film, and then started working. In some of the films I have made, I have never seen a picture before finishing all the music. And I like it, because I don’t want the music to map perfectly to the film. I want that to suggest music – basically to increase ambiguity. To give the film a little detail. Not to underline it. Often, and especially with the Hollywood soundtrack, the whole point of the soundtrack is to tell you, looking dumb, “You are going to feel sad now.” now This is funny Laugh! Continue! “And I just don’t want to get into that business of outlining things.
Have any of the filmmakers worked with you going back to that process?
When I worked on “The Lovely Bones”, there was a lot of mixing between me and the director, Peter Jackson, and where I used to send things and he would say, “Yes, this kind of work, but two minutes, Something happened in five seconds. “That’s why I was probably the most specific work relationship ever.
But the problem I have is that I do not have the ability to stretch extra from the initial stages of the film to its finished product. Whenever I see films in their early years, before they are color-graded and everything, I always think, “Jeez, that looks really bad.” I do not have that fantasy. And I know that when I play music pieces in front of people in my early stages, and I can see them doing “hoo”. I think of course, they don’t realize that I’m going to do that, and it’s going to be more subdued – all the things I know about what you can do with music. So I have a habit of listening to music in its crude, early stages and filling in gaps. But I can’t do it at all with the film.
The collection includes “The Professor’s Theme”, which you, your brother Roger and Daniel Lanois wrote for David Lynch’s “New”. I have read some rumors that actually ghostwot you the “Doon” score, although this is attributed to Toto. Is there any truth to that?
I did not write anything. The only thing I wrote was that piece. It was in those days when people used to blow you everywhere – uh, I’m glad those days are over – but David [Lynch] I flew to Los Angeles to see “Doon”, as it was at that time. It was not finished then. And I don’t know if his intention or his expectation was that I’d do the entire soundtrack, but I didn’t want to anyway. It was a huge project, and I didn’t feel like doing it. But I felt like I’m making a piece for it, so that’s what I did.