April 14, 2009
San Francisco's Outside Lands Music & Arts Festival has announced its participating music acts.
GD: Do you consider yourself a geek? Geeks, of course, come in all shapes and sizes. Film geeks, science geeks, music geeks, pop culture geeks. Do you identify with any of these labels?
WL: I always aspired to be a geek in that I think the term implies a having a singular focus on a subject which in turn fosters a particular aptitude. I have the obsessiveness down, but I tend to spread my interests as to not ever get too good at one thing. I love movies and rock and roll, but I'm sure there are a million people that can out-geek me at any given time. I have to get really esoteric to be able to hold my own—cinema verite documentaries, vintage hotel stationery, and David Johansen.
AVC: You mentioned talking to Richard Linklater and Caveh Zahedi about your ideas on movie music. Can you summarize those ideas?
WO: Well, for a while, it seemed like you were always seeing movies where all the music was determined by the music supervisors and their special relationships with certain record labels. And I just felt like, “Wow, I’ll bet they spent months or years writing this screenplay, and I’ll bet they spent months shooting this, and I’ll bet they spent months editing this, and now they’re spending no time at all picking these completely inappropriate songs with lyrics to put under a scene that has dialogue.” How does that even work? How can you have a song with someone singing lyrics under spoken dialogue and consider that mood-music, or supportive of the storyline? As somebody who likes music, when that happens, I tend to listen to the lyrics, which have nothing to do with the movie. And then I’m lost in the storyline. Not only is that a crime, but it’s a crime not to give people who are good at making music for movies the work. It’s like saying, “We don’t need you, even though you’re so much better at it than I am as a music supervisor.” Like the cancer that is that Darjeeling guy… what’s his name?
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