The intelligent use of contemporary music in film has an enormous audience.
My parents met in music school and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing. There was a lot of Mozart and the Beatles.
My parents met in music school, and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing.
There is a kind of adventure- and risk-seeking audience in classical contemporary music that is really empowering and part of what draws me to it. The people that come to these concerts are open-minded and curious.
These wealthy people were very interested in contemporary music. They wanted to help diffuse it and get it to be known to other people.
Then, when the Depression came, all of this changed completely. Since that time, the entire public is of a very different sort and there was not so much support for contemporary music in a direct way.
I mean the public likes it more in Europe than they do here because the state supported organizations have felt that playing contemporary music was part of the education of the public.
What people don't understand is that my dad isn't up on the contemporary music scene. He's been a legend for decades and he doesn't know what's going on right now, and he doesn't need to.
I've always loved the blues, ever since I was a kid. It has a depth to it that a lot of contemporary music doesn't have. It has pain and suffering in it, but funny stories, too. And it is built on storytelling, which is something I really love.
Post-minimalism implies music that's genre-less. Minimalism was very important because it came at a time when contemporary music had become so complex, so experimental and detached that people turned away from it. Minimalism broke that trend and brought music back to the people.
Unquestionably, our contemporary world of music is far richer, in a sense, than earlier periods, due to the historical and geographical extensions of culture to which I have referred.
He who joyfully marches to music in rank and file has already earned my contempt. He has been given a large brain by mistake, since for him the spinal cord would suffice.
Success happened little by little for me. I tasted the flavor of fame in small doses: I started at 10 years old when I won a music contest; I was performing at birthday parties, company meetings.
I didn't know how well my first album had done; it was enough to get me to do the second album, which was a continuation of the music I'd worked on and perfected.
There's a continuity between what I care about in any form: I care about it in my music, in article-writing, in how I dress, in how I live, in my relationships, in how I navigate paparazzi, how I decorate my home. There's such a continuity between everything that I don't really care what form it shows up in.
Since time is a continuum, the moment is always different, so the music is always different.
When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.
Synthesizers were looked at as stealing the soul of music, but then there were these new bands who used it to contradict that idea.
Proust, my big inspiration for 'Goon Squad,' uses music a lot in his novel, both in terms of plot and structure. I liked the idea of doing the same thing, which is one reason I structured 'Goon Squad' as a record album, with an A side and a B side, that's built around the contrasting sounds of the individual numbers in it.
I often begin movies with music in my head; it's a very important dimension to me. Not just the music itself, but how to use music in film: when and how and subtlety. I don't like to be too sweet in my stories, and I like the abrasive clang, the contrasting of sounds and cultures.
