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Clint Mansell To Contribute to Paul Oakenfold's New Album, Batman & More
The November/December 2000 issue of MEAN magazine, with actress Thora Birch on the cover, paired up the Guinness Book Of Records' "World's Most Successful Club DJ" Paul Oakenfold and Requiem For A Dream director Darren Aronofsky for an interesting first impression interview.
Nothing Records artist Clint Mansell of Pop Will Eat Itself fame is mentioned numerous times through out the three page interview, which Aronofsky explained Mansell will score the film if he decides to take on the next Batman.
Oakenfold: Is there any truth in the rumor that you'll be directing the new batman movie?
Aronofsky: I'm writing the screenplay with Frank Miller.
Oakenfold: Oh, so you are involved.
Aronofsky: If I do it, Clint's going to do the music.
Oakenfold: Fantastic.
Aronofsky: I told Clint to get his bass warned up because, you know, duh duh duh duh duh ("Batman Theme Song").
(Laughter)
Aronofsky asked Oakenfold if he had the chance to meet Clint Mansell, which Oakenfold said he met Clint and work is in progress between both of them.
Oakenfold: I met Clint, and he is a really nice guy. The music he composed for your film (Requiem For A Dream) is wonderful. He's writing a couple of songs for my album, which I'm attempting to make.
Aronofsky: That's awesome. you won't be upset with his work, I'll promise you that.
Those who have seen Requiem for a Dream should know how much of a downward spiral the characters find themselves during the last 30 powerful minutes of the film. The director explained to Oakenfold that he and Mansell wanted continuous music for the last 30 minutes of the movie to make it seem like a train wreck. "There are slow and poetic moments in the train wreck, and then suddenly there are death defying, crushing moments. So, we cut back and forth, building slowing until it eventually explodes into the orgasm of destruction," Aronofsky said.
Oakenfold: I'm trying to bring emotions out in people. If I play records in major keys, I bring out good emotions-good in the sense that people will feel happy. When I play records in a minor key, you can feel solemn and depressed. In a Sade record, you don't skip around the room feeling really happy. In a good way, it brings out emotions of live and sadness.
Aronofsky: I think that's interesting. When Clint and I worked on the overture for the movie, we talked about making it in major keys early on and then, as it progresses, it goes into the minors. There's a progression of the way Clint moved that music across the film to mimic what was going on emotionally with the actors. Spielberg said about Jaws-before John Williams' music came into the movie-it was testing at nothing. He feels that 70% if the film's emotional response is based n the music. Clint has saved my ass many times. Music is just crucial for any good movie.
Oakenfold: Definitely. I think music makes the difference.
Fans can read a little more of this issue on the official Mean magazine website at this location or pick up this issue currently on stands now, which features about seven scenes from the film.
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