The Neon Demon: Interview with Cliff Martinez
The composer and musician talks about working with Steven Soderbergh and Nicolas Winding Refn, his earliest movie music experiences and why the greatest scores can’t save a bad film from its downfall.
Cliff Martinez started his career drumming for Red Hot Chilli Peppers and Captain Beefheart before making his big leap into cinema, writing the music for Steven Soderbergh’s Sex, Lies & Videotape, The Limey, Traffic and Solaris, . He’s since formed a close bond with Nicolas Winding Refn, composing the scores for Drive and Only God Forgives. Their latest collaboration, Refn’s shiny new offering The Neon Demon, which premiered at this year’s Cannes Film Festival, has an intriguing, pulsing electronic score that is haunting and emotional in equal measure, while the film itself unexpectedly divides critics and audiences alike.
Pamela Jahn spoke to the composer and musician about working with Steven Soderbergh and Nicolas Winding Refn, his earliest movie music experiences and why the greatest scores can’t save a bad film from its downfall.
The Neon Demon is your third collaboration with Nicolas Winding Refn. Did the fact that it features women rather than men in the lead role, which is quite unusual compared to Refn’s work in the past, change your way of approaching the music for this film?
Cliff Martinez: No, Nicolas had told me very early on in the process, ‘This is going to be a very different film because the subject is going to be women.’ And when he told me that, I was curious what it would be like. But then when I got to saw the film and I saw the shower scene and things like that, I thought, ok, so that’s how Nicholas is making a film about women, of course. So, no, for me it didn’t feel so much different. It was more a departure for Nicholas himself, I think.
Do you think there is a specific link between electronic music and fashion in the way those two worlds seem to complement each other?
Oh, I never thought of that, but it’s an interesting idea. Maybe there is some sort of connection, I don’t know.
The music to Drive is widely regarded as one of the greatest scores of its time. Did it feel special to you when creating it?
I loved Drive from the minute I saw it, but I don’t think anyone imagined at the time how successful the film was going to be, or at least certainly I didn’t have a clue. It was just a great project to be working on. I’ve never really grasped quite why that particular score got so popular. And I’m still kind of fascinated by the fact that in my 25 years of working as a composer, that’s the one score that people keep talking about.
In 2014, the BBC created a televised re-score of the original Drive soundtrack – what did you make of that new version?
I’ve heard of it but I’ve never actually seen this new version, so I don’t know. I heard that it was re-scored but that’s about it.
You also worked with Nicolas on Only Good Forgives, which has these great karaoke moments. Were you involved in creating these scenes?
As I recall it, the script and the actual film turned out very different from each other, but I think the karaoke material was there from the very beginning. I remember that it was the first thing that I did when I started working on the project. I usually don’t come in until the film has been shot but this time the ground floor was really the script, because there were several karaoke scenes that they needed the music for so they could shoot. I’d never done any karaoke for film before and I remember in the beginning Nicolas had this idea about iconic country western songs but then he decided to go with Thai music instead. So, I think I created five of these Thai karaoke tracks, each track was then tested and got changed several times to be performed at the karaoke bar, but in the end I think we used the original tracks.
You started your career as a composer working with Steven Soderbergh. Was he your first sort of soulmate in cinema, in a similar way that Nicolas seems to be now?
I don’t know, we just seem to work together very well. We seem to agree on films, their philosophy, musical genres and so on. We have a similar taste, I guess.
You’re currently working with Soderbergh on the TV series The Knick. Does it make a difference to you if you compose for the big or small screen, apart from the fact that it’s a longer process?
That’s the thing, it’s more exhausting than feature-film work but, in the end, it just feels like a ten-hour Soderbergh film to me. But there are some differences as well, I guess, one of which being that you have to mix the score so it sounds right on very small speakers, because most people will see it on their normal TV at home. And you also really have to develop your theme and your emotional peaks and stretch them over ten hours as opposed to two hours.
You are working across the board, from cinema to TV and video games. How do you choose your projects?
To be honest, it’s more that people chose me rather than me selecting things. Directors like Steven, Nicolas or Harmony Korine, for whom I composed the score for Spring Breakers, have asked me to score their films. So I feel that if I have worked on these great projects, it’s not so much because of my decisions, but because people have chosen me and trusted me with what I can bring to their work.
Was there a score when you were younger that first made that feeling, that relationship between music and movies, click for you?
There are a couple of films or film scores that come up actually, like the old scores by Bernard Herrmann and especially Ennio Morricone. One of the first film scores that I owned on vinyl when I was young was A Fistful of Dollars. Another thing that resonated with me from the beginning was the TV show Saturday Night at the Movies. I would watch The Day the Earth Stood Still three or four times a year, and the music just got to me, I listened to it every time it came on.
A film might be flawed but the music can still be brilliant. What do you think the score can bring to the movie as a whole?
Well, the score depends on the film. The music has a significant role, especially if there is not much dialogue. People turn to the music to maybe explain a bit more about what’s going on.
Do you think a great score can save a film from being terrible?
No, I don’t think the music has the power to salvage a terrible film, but I do believe it has the ability to completely transform a film. It’s hard to explain what it is, I didn’t understand it myself until I saw a film without music and then with the music, but when you do that, you can appreciate the power of music. But still, I think it’s a bit of a stretch to say that music can rescue an utterly flawed film and turn it into an entertaining, successful film – no musical score can do that.
Interview by Pamela Jahn
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