How The Olympic Games Helped Danny Boyle's Trance Make Sense

By Eric Eisenberg 2013-04-10 14:49:50discussion comments
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I also do have to ask about music, because music has played such an important part in your career and itís a great part of this film as well, so Iím just curious, whereís your philosophy when it comes to the utilization of music and also, just in the collaboration process, youíve worked with Rick Smith and you also have John Murphy who youíve worked with on a number of films.

And also A.R. Rahman, whoís incredible.

Of course!

So, Iíve been very lucky with the people Iíve worked with. Itís interesting, the choices that you make are often, theyíre not, as they shouldnít be with music, theyíre often not rational, because you know music, itís very, talking about music if so tough sometimes. You just know. So, for instance, a big influence on the beginning of our soundtrack for this was the Bowie album, Low, and thereís a little sample from it, in it, but it doesnít make any rational sense. You canít kind of sit there and explain, ďWell, itís the beginning of electronic music and that led to dance music and that led to Rick Smith and....Ē You know, it doesnít really hang together as a kind of, you know, with philosophical clarity for your work process, so itís more instinctive than that and itís more to do with your... Itís often, itís sometimes specific, you pick a song which does end up in the movie. Itís sometimes not, itís a series of songs that you hope to inspire a composer with and youíre looking to kind of... But, for me, I mean, this is my own theory, but Britain is way better at music than anything else. We are...

Beatles and the Rolling Stones aloneÖ

Weíve got David Bowie. Weíve got New Order. It just goes on and on and on. So, you go, ďWell, thatís pretty good for a small island.Ē And Iíve always tried to make sure, that in the films, thatís reflected in the films, the importance of music. And if people accuse us of being a bit, as they did in the early days, of being a bit MTV, I never thought of it as being... I thought, ďWell thatís not an accusation. Thatís some kind of compliment.Ē I was like, ďPlease...,Ē and itís grown up like that because people now digest material so quickly. Theyíre able to absorb stuff so quickly and they want it to reflect the mix of cultures that everybody, you know, youíve got... I always used to say that music is running in our heads the whole time and then the Walkmans came along and the ear pods and it is running in our heads the whole time, because youíre carrying it everywhere with you. Youíre never without it. You can have 10,000 songs in the cloud, ready to come down at any minute. I always wanted it to reflect that, because itís a wondrous thing really and it kind of opens up film.

I mean, Iíve changed a bit actually, because as you get older, you donít have automatic access to everything thatís out there. I donít know when the change happens, but it does change. I have more access via my kids now than via my own means, you know to whatís new and whatís interesting and fresh and stuff like that. So, but what Iíve done, Iíve changed. Iíve become more composer oriented, because in the earlier films, I didnít really trust composers. I just wanted to have bits of tracks and make the music like that, but Iíve kind of recognized what a composer can bring you. You can bring them all those tracks, but what he uses them for is inspiration. He writes you a coherent soundscape that takes you through the whole film and you benefit from enormously. So, Iíve been lucky to work with those guys and increasingly to depend on them more.
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