![]() ![]() We’ve been doing that on these Fincher films, working with Ren Klyce, who does all the sound design and mixing: “Hey, what if this piece morphed into that floor cleaner that you have outside? Tune us to fit that.” Just trying to make what we’re doing truly become in service to the picture and disappear. I like the way the soundscape blurred the line between score and sound effects. machine quality, both the way they look and their soundscape. Those early Lynch films - Eraserhead, The Elephant Man - have a real man vs. The role of music and sound in Eraserhead is still a huge inspiration in terms of what can be done and how it can make you feel. I felt the small town-ness of it, the layers I felt rules being broken, and it expanded me. The films of David Cronenberg and David Lynch made a huge impact on me later in life. There wasn’t even a college radio station within range. I grew up in a very uncool place, north of Pittsburgh, in the middle of a cornfield. What movies were important to you growing up? I just think we haven’t quite hit the right formula yet.” ![]() That idea that I’ve got my records on the shelf doesn’t feel as important even to me as it used to. Everybody is comfortable with the cloud - your documents, who knows where they are? They are there when you need them. “I am on the side of streaming music, and I think the right streaming service could solve everybody’s problems,” says Reznor, who along with Ross will participate in a keynote Q&A at the Billboard/Hollywood Reporter Film & TV Music Conference being held at Universal City’s Globe Theater on Nov. Trent Reznor on How He Made the ‘Gone Girl’ Score ‘Rot Inside’ In the time after he experimented with giving away his music, but released 2013’s Hesitation Marks - the first Nine Inch Nails album after a four-year hiatus - through Columbia.) (Seven years ago, frustrated with his then-label Interscope, he told his fans to steal his music. “That’s flattering, as a life-long Apple consumer and fan and advocate,” says Reznor, who studied computer engineering during his three semesters in college and has long wrestled with the difficulties of music in the digital age. Reznor was chief creative officer of the Beats Music streaming service, and when he returned home to Los Angeles, Apple was interested in tapping his creative energy. But during his time on the road, Apple finalized its Beats acquisition for an estimated $3 billion. In fact, Reznor was hoping to have a few months of doing nothing but that after the Nine Inch Nails shows wrapped. (His body is in no danger of falling apart anytime soon, unless his interest in mountain biking leads to disaster.) His desire to find a new way to tour has less to do with age than his wish to spend more time with his wife of five years, Mariqueen Maandig, 33, and their two young sons, Lazarus Echo and Balthazar, ages 4 and 2, respectively. He takes his art seriously, but tosses off a steady stream of wisecracks at his own expense. Sitting in his manager’s office in Los Angeles, Reznor picks his way from topic to topic with careful confidence. Being onstage alone or with a string quartet, in a theater, it’s not right around the corner, but…” “But the idea of putting myself in something that doesn’t feel as comfortable to me - I feel confident I can do that, or until my body falls apart on me. “I don’t see any full-fledged rock extravaganza happening maybe ever, certainly not for the next several years,” he says. ![]() As for returning to the road with Nine Inch Nails as a 50-year-old, Reznor wonders if he has another tour in him like the 11-month global trek of festivals, arenas and amphitheaters the band finished this past September. ![]()
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