Oneohtrix Point Never discusses his intoxicating… | Little White Lies

Film Music

Oneo­htrix Point Nev­er dis­cuss­es his intox­i­cat­ing Good Time score

14 Nov 2017

Words by Adam Woodward

Shadowy figure at microphone in dimly lit room.
Shadowy figure at microphone in dimly lit room.
Musi­cian Daniel Lopatin on sound­track­ing the Safdie broth­ers’ stun­ning latest.

Daniel Lopatin has been writ­ing and pro­duc­ing exper­i­men­tal elec­tron­ic music from his stu­dio in Brook­lyn since the mid-2000s. Under the pseu­do­nym Oneo­htrix Point Nev­er he’s released sev­er­al crit­i­cal­ly-acclaimed LPs and col­lab­o­rat­ed with the likes of FKA Twigs and David Byrne.

In 2013 he scored Sofia Coppola’s The Bling Ring, and now he’s teamed up with New York film­mak­ers Ben­ny and Josh Safdie to pro­vide added atmos­phere to their acid-laced heist movie Good Time. The result is an intox­i­cat­ing blend of hard per­cus­sive beats and dreamy 70s psy­che­delia, with Iggy Pop guest­ing on album clos­er The Pure and the Damned’. Here Lopatin dis­cuss­es his cre­ative process and selects some of his favourite film scores.

The process was most­ly col­lab­o­ra­tive and loose. There were no queue sheets, revi­sions, etc. We’d get togeth­er and fig­ure out what need­ed to be done, and we wouldn’t stop until we got it right. There were a few instances where I had Ben­ny ad Josh clear out of my stu­dio so I could do some writ­ing on my own – Leav­ing the Park’ and Flash­back’ were both made that way.

The Safdies use temp score on an almost for­mal lev­el where that stuff is actu­al­ly placed very specif­i­cal­ly and cre­ates a cogent map of musi­cal events, and spots to hit. But styl­is­ti­cal­ly we went way beyond the temp score by just hang­ing out and shar­ing music all day. We were lis­ten­ing to tonnes of hard 70s synth music; every­thing from John Aber­crom­bie to Supermaxx.

On one hand, col­lab­o­rat­ing is dif­fer­ent – whims are set aside often, which is fine actu­al­ly because I don’t tend to over­rate the self’ part of self-expres­sion’. Only because it tends to bring out rep­e­ti­tion in ones ideas. It doesn’t lend itself to vari­ety. I’m attract­ed to strong per­son­al­i­ties to work with, that know what they want, but are cun­ning enough to recog­nise that I’m the exact same way and you should just let me do my thing, while artis­ti­cal­ly par­ty­ing togeth­er in the process.

There’s so many film scores that are impor­tant to me in dif­fer­ent ways. Artemiev was my gate­way drug into synth scores. Takemit­su has made some of the most soul­ful music for film, real­ly in his own total­ly indi­vid­ual way. I love the impres­sion­is­tic scores of the 60s and 70s by com­posers like Jack Niet­zsche and Ennio Mor­ri­cone and John Bar­ry. Godard always got the best out of his com­posers (Duhamel, Yared, Legrand, Delerue).

I love roman­tic scores with real­ly strong themes like Badalamenti’s 80s peri­od. Then there’s just insane bursts of genius like Don Cherry’s stuff for Ale­jan­dro Jodor­owsky, Slava-Tsukerman’s music for Liq­uid Sky, Ornette Coleman’s Naked Lunch score, Vivien Kubrick’s Full Met­al Jack­et synth score, Howard Shore’s gui­tar-dri­ven Crash score. It’s end­less. I love the con­trolled chaos of Mica Levi’s work, it’s just so orig­i­nal. The thing with writ­ing a film score is, the film is the film – it’s a thing with or with­out me. On Good Time I was invit­ed to con­tribute good chaos. Which is fun for me.”

Good Time is released in cin­e­mas 17 Novem­ber. The orig­i­nal motion pic­ture sound­track is out now via Warp Records.

You might like