Layo interviews Jeff Mills
They talk about his move into film soundtracks
One of the original pioneers of electronic music, and one of the world's greatest DJs, in 2005 Jeff Mills turned his talents to film soundtracks. He toured Europe in the wake of one ambitious release, a score for classic film 'The Three Ages', and joined us here at The End for one night. Club resident Layo caught up with Mills to ask him a few questions about the film, the tour, and the music...
Layo: You've composed a new score for the classic black and white Buster Keaton comedy, 'The Three Ages'. How did the experience differ from composing soundtracks for your previous film projects, Fritz Lang's 'Metropolis' and Claire Denis' 'Vendredi Soir '?
Jeff Mills: Buster Keaton's 'The Three Ages' is the first comedy for me. Most of the music I create is envisioned with dark Science Fiction ideas so, 'The Three Ages' was a challenge. Once I began to create sketches of music to consider for certain parts of the film, it wasn't very long before I found a logical prespective. Buster Keaton and all the supporting actors were very physical actors and all scenes are busy. Keaton did all his own stunts.
I needed to create the type of soundtrack that supported at least two important factors. 1 - the physical interaction of the characters and 2 - the complexity of the setting. For Fritz Lang's 'Metropolis', it overflowed with deep emotion so, using certain notes and chords that brought out these feelings was the key factor. I used a number of layering techniques to create very thick and dense string sounds. The music soundtrack was made to be more simple as the tension rose in the plot of the movie. More simple but, harder to digest. It was really a honour to work on 'Metropolis'!
And with Claire Denis' 'Vendredi Soir', the music was more tender. Very light single note arrangements. The movie was about the unexpected and surprise love of two strangers. It's a very seductive story.
You stated that composing the soundtrack for 'The Three Ages' was a challenge because it was the first time you had to create music for a comedy. How did you work through this and how do you feel it advanced your knowledge of composing music for film?
Watching Buster Keaton brings out the humour. It's infectious. Even though I had to watch the movie numerous times, I never became tired of watching and laughing. When I sat down to begin writing the music, memories of what I had watched guided me through the scenes. The more opportunites I have to compose music, the more I can learn.
'The Three Ages' DVD contains bonus material featuring six short films that you've made in association with Three Ages pictures. Can you tell us more about the films' content and inspiration?
There are six bonus mixes on the DVD format. The idea came to me shortly after finishing the soundtrack. I had imagined that if certain parts of film were extracted and remixed in a way DJs could play them in a party setting, then the concept would be expanded. In the creation of these mix segments, I began to experiment as I made my way through the mixes and shortly discovered a artistic view of what I was doing. They are interesting to watch and even more to play as a DJ.
Composing film soundtracks is something of a holy grail for many electronic music producers, with several influential artists moving into this area. Do you think we will see more electronic artists making their mark on film?
I hope so. The capacity and structure of electronic music allows a lot of room for the translation of emotions. In electronic music, we've learned in the past 15 years to tame electronic music instruments and make them do extraordinary tasks. From dark, fast brutally raw dance tracks to warm, lush emotional tracks. Description through electronic music or sound has reached a level at which I think only by exploring new territories of other artforms will it make sense .
Tell us about your current Three Ages tour.
The Three Ages Tour is a cinemamatic dance/party tour. Along with records and cds, I'm intergrating films and moving images into the experience. I've been working with video since the beginning of 2004 and we`ve come along way in the presentations. Unfortunately, not all venues can accomodate large video screens and a DJ booth that has the space for all the equipment but, we're trying very hard to make every party a new experience. My studio production time is becoming split between film and music now. We have planned very interesting projects and tours for this year.
What other music and which other artists really interest you right now?
Many things but, right now: Mos Def, Classical pieces, Latin Jazz with vocals that are very simple in form. I`m attracted to almost any style of music.
What have been your biggest musical influences over the years?
The movie '2001: A Space Odyssey'. I'm constantly trying to make music that describes what went on in that particular movie. The many questions that are raised in the scenario are very inspiring. Also, the dramatic landing on the moon of Apollo 11.
Where do you think electronic music is heading?
Because the nature of electronic music is so diverse and expansive, it is difficult to pin-point a exact location. Instead, it's better to look at people and their habits. From there, it might be possible to foresee how electronic music could play a role in their social habits.
Published: 15/02/2005
