A Quote by Michael Giles
I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.
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One of the major aspects of film composing is that it's not so much a musical thing as it is communicating your ideas with the director, who often does not come from a musical background.
But there's actually a lot of punk bands out there that go out of the norm, use odd time signatures, or a lot of different tempo changes in a song.
I used to think of two people in love like that. Like puzzle pieces, fitting together. But it's not like that at all. Love pulls a part of you out, and it pulls a part of him - like taffy, stretching but not separating. The tendrils of each one wrap around the other, until they meld together. One, but not quite. Separate, but not quite.
I'm 19, I'm a girl, I'm very young, I like all sorts of different things, I like all sorts of different styles of music, I like all sorts of different styles of clothes, I like all sorts of different colors of hair.
We operate from this position of, "Let's build the skeleton and then insert the filling." We have this ping-pong dynamic with each other where we're able to try different things and bounce different ideas, and it ends up being us building our music together. I've never had a moment where I've been like, "I don't like it." Actually, that's total bullshit. I've had many moments where I'm like, "I don't like it," but it's always evolving.
What North Europe thinks of as its history is actually quite provincial and of limited interest. Different sorts of Christian killing each other, and that's about it.
Movies always are open to being remade because times change so much, and the tempo of movies changes. I think of it like a James Bond. They can have different actors play the same role... I've had people come up to me and say, 'We want to remake 'The Jerk' with so and so.' And I say, 'Fine.' It just doesn't bother me. It's an honor actually.
I'm not trying to create an aesthetic that's my own; I'm trying to create a way understanding things through drawing and painting. That's the common thread. Things can look different, but that's not what's important. What's important is the process is the same, the ideas are the same, I'm using the same building blocks, but they're different. The larger framework is the same; it's the pieces that change. For me, it's about these different elements, but you're still fitting them together into sentences, words, paragraphs, and stories.
I suppose I was a frustrated artist. I like fitting things together, and there are plenty of different ways to do that with real estate.
I think of something quite different from a snapshot. I know of a lot of poems, some very fine ones, that are like snapshots, but I'm more interested in poetry that is like an endless film, long stories, things that weave together many different strands, like a big piece of cloth, not like a photograph.
Sometimes I do that quite a lot, go back and forth a lot between ideas. Try things out.
It was quite nice meeting up because we went through a lot together and we haven't really seen each much other to communicate one to one for quite a long time.
I lived a pretty chaotic life. I went to England, and I moved around, and there were a lot of things that I was interested in. I wrote poetry. I took photographs. I was a musician and all sorts of things. Nothing brilliant, but I did all these different things.
The having of the ideas is quite otherworldly. And then the making of the art itself is quite scientific. It's a combination. L Doing figurative work or taking pictures, and looking at how light actually reflects and refracts on bodies, or how your perception of something changes based on distance. But I think the getting of the ideas, and having that space to just have the ideas, is otherworldly, and requires a clear mind.
That was Robert Aldrich. And that [Emperor Of The North] was one of the only times I actually got a part in a movie in the conventional way: The role was there, I auditioned, I auditioned again, and then I actually did a full-fledged screen test, which they shot on a soundstage on the lot at 20th Century Fox. They put up a set, and Robert Aldrich actually directed me in this screen test.
The whole musical institution of the church involves a lot of different styles of communication at the same time. Things like call and response. Sometimes they use the music to pray and work things out. And there's so much repetition in gospel, it's like churning butter.
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