Grunge was so self-consciously lowbrow and nonaspirational that it seemed, at first, impervious to the hype and glamour normally applied swiftly to any emerging trend. But sure enough, grunge anthems found their way onto the soundtracks of television commercials, and Dodge Neons were hawked by kids in flannel shirts saying, 'Whatever.'
I have the soundtrack for 'A Clockwork Orange,' which is kind of cool. I guess I don't really end up buying a lot of modern soundtracks. Another soundtrack I love is from a French movie called 'Betty Blue.' it has some really melancholy piano work.
I've always thought my soundtracks do pretty good, because they're basically professional equivalents of a mix tape I'd make for you at home.
One of the most interesting things, at least for me, are the soundtracks for 'The Social Network' and 'Drive.' Basically, it's what I did in 'American Gigolo.' I could have done the music for those movies blindfolded. And one of them won an Oscar, and the other is this massive soundtrack.
Well lately I have listening to a lot of movie soundtracks.
I can remember soundtracks that you just can't separate from the film - It's just so intertwined, so important. Like the Hitchcock ones where they kind of inform each other and become this larger thing as a result.
Everyone wants to get into soundtracks. Everyone wants to do songs here and there. But, I think they want it for different reasons. I think I'm just tumbling through my life, enjoying playing with everybody.
This sounds geeky, but when I run, I like to listen to musicals like 'Les Miserables.' The soundtracks are 75 minutes or longer, and I keep going until the story ends, so it feels like a good workout.
A few performances have been left out of the various Woodstock soundtracks and film edits over the years, most notably The Grateful Dead.
John Barry was the first film composer I was aware of. As a teenager I owned several of his Bond soundtracks.