Adam Curtis’s music supervisor, Gavin Miller, shares some the arpeggiated synths and creepy atmospherics that score Curtis’s latest documentary
I’m in a band called worriedaboutsatan, and ended up working with Adam Curtis after I approached him about five years ago to do an interview, primarily about the use of music in his films. I’d been watching them for years, and was intrigued by how he’d use snippets of really amazing stuff – Nine Inch Nails, Burial, Brian Eno and Ennio Morricone, all jostling for room over harrowing images of war and degeneration.
I spoke to him on the phone and wrote up the piece. After that we just kind of kept in touch. He’s a really nice guy and very accommodating to a squealing fanboy like myself. He’s also very up on new music, and into a lot of obscure stuff. He listens to a lot of music, but I think he gets hungry for new sounds quite easily. My job as music supervisor was basically to send him playlists of stuff I thought would fit in his films. It took me a while to get the hang of it, and the early ones I sent him were full of music that, looking back, would not have worked in a million years. He later told me that the only people who ever sent him music were me and Martin Jenkins, AKA Pye Corner Audio, whose haunting synthscapes crop up quite often in Curtis’s films too.
Continue reading...by Gavin Miller via Electronic music | The Guardian
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