Dying Days
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Música e cinema: Jim Jarmusch

Fabricio C. Boppré |

(...) AVC: The music and sound design were really important as well in drawing viewers into this movie, because it doesn’t have a steamroller of a narrative. What were you looking to accomplish with the soundtrack?

JJ: For me, the music is always like the small rowboat I get into at the very beginning of my process. When I’m trying to imagine something, I have a few elements, a few ideas, maybe a certain actor or actress I want to create a certain type of character for, or maybe a certain place. Specific music starts feeding my imagination and gives me a landscape that corresponds somehow, in some abstract way, to the world I’m just starting to imagine. So the music comes very, very early to me, and that’s happened so many times. And usually, a lot of that music or some element of it becomes the score or enters the film in some way. I did that with Dead Man with Neil Young’s music, and I was collecting RZA’s vinyl instrumental B-sides to Wu-Tang stuff, and listening to those while I was writing Ghost Dog. Mulatu Astatke’s music came to me first as I was just starting to write Broken Flowers. In this case, it was Boris particularly, and Sunn O))) and Earth, those bands were really speaking to me. When I’m focusing and developing an idea, what music I listen to is incredibly important, and I then can’t listen to a lot of other music, and I avoid it. In the same way, I’m very careful about what films I watch when I’m preparing a film, if I watch any at all. The music is kind of a primal beginning point, often, for inspiring me. This time it was those cinematic landscapes with feedback and distortion, a form of rock ’n’ roll, but a very particular, hard-to-describe genre. It came very strong and was opening me up, so it ended up really being the score of the film, along with the flamenco stuff, and then Franz Schubert’s Adagio For String Quartet. (...)


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