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I can remember soundtracks that you just can't separate from the film - it's just so intertwined, so important. like the hitchcock ones where they kind of inform each other and become this larger thing as a result.
-Jonny Greenwood
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I Can Remember Soundtracks That You Just

Jonny Greenwood
I can remember soundtracks that you just can't separate from the film - it's just so intertwined, so important. like the hitchcock ones where they kind of inform each other and become this larger thing as a result.
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I just want to hear the true voices of women self-expressing - smart ones, stupid ones, ugly ones, beautiful ones, good ones, bad ones, fat ones, thin ones, all of it - until the profound silence that has resounded throughout history is filled with a healthy chorus coming from our side of the aisle.
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I still don't feel i know hitchcock at all. i find that the more one looks, the more elusive he becomes. but my admiration for hitchcock the filmmaker remains undiminished. he is a giant of the cinema and the darkness in him informs his cinematic language. you can't separate one from the other.
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There are many stories of people didn't set out to make a film that became a classic - the whole process was a disaster, everybody hated each other, the movie itself was a disaster, everybody thought the movie and the script was going to be a piece of crap. look at alfred hitchcock and psycho. nobody wanted to make psycho; it was crap to them. the only person that wanted to make psycho was hitchcock. now, it's considered a classic and a work of art.
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The fabulous side of taboo was dressing up and dancing like no one was watching you. there were no rules. you had jeffrey hinton playing every kind of music. it was like going back to when i used to deejay at planet in '79, where you'd mix in nutty things like hip-hop or reggae or the sound of music [1965] or other film soundtracks - whatever.
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There are two kinds of filmmaking: hitchcock's (the film is complete in the director's mind) and coppola's (which thrives on process). for hitchcock, any variation from the complete internal idea is seen as a defect. the perfection already exists. coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.
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Intellectual culture seems to separate high art from low art. low art is horror or pornography or anything that has a physical component to it and engages the reader on a visceral level and evokes a strong sympathetic reaction. high art is people driving in volvos and talking a lot. i just don't want to keep those things separate. i think you can use visceral physical experiences to illustrate larger ideas, whether they're emotional or spiritual. i'm trying to not exclude high and low art or separate them.
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