Clint Mansell on the Creative Process to Find the Music for The Wrestler
The creative process behind a soundtrack is a fascinating one that always start with the composer’s sensitivity to the material she/he is given, and a strong communication with the director.
After entering the collaborative and creative process of David Fincher and Jeff Beal for House of Cards score, we now get to hear it from Clint Mansell, Darren Aronofsky‘s right hand when it comes to film score since his very first feature film, Pi.
The interview is 5 minutes long and very interesting. You can see it full below. Make sure to check after the video if you’re interested in either Aronofsky’s work and team, or in music scoring, there are a bunch of connected articles that should interest you.
Clint Mansell on Understanding The Wrestler’s Universe
“It was a very different story, a simple, straight ahead story, a character study I suppose, and that’s where the challenge became something different for me because it was a very intimate tile and everything that we’ve done so far from the music standpoint was like okay, the music is almost telling the story along with it, whereas with this it didn’t feel like that was going to be the approach at all.
And I asked Darren what interested him about this story because it was so different, and he said to me that he was really fascinated about the idea of being unable to do something you love to do, like as an artist, ‘what if you can no longer write’, ‘what if you can no longer take picture’, ‘what if you can no longer paint’, and it was the same for this guy, whatever the subject matter was, effectively it was the removal of your drive in life.
I guess that for me was my hook into the film.”
Clint Mansell on Deciding What Space the Music Should Take
“The music became almost like an underscore, but it just had to be something that would help support the environment and the emotion of the film, but not sort of comment on it too much.
One of the thing we really thought about early on was that we couldn’t judge this character.”
Clint Mansell on the Importance of Having Great Musicians to Interpret the Score
“Like I’ve said about Requiem for a Dreams, The Fountain, and it’s the same with The Wrestler, I might write the notes, but the performance elevates the notes to the real level of action if you like.
It’s that performance where somebody understands the film, understands the music, they can inject themselves, and the performance of what they’re doing into that music that gives it that connection I think, that’s so important.”[thanks to Larry Wright]
More About Darren Aronofsky’s Work:
- Brace Yourself: Here is a 1h30 Masterclass with Darren Aronofsky
- In the Trenches With Darren Aronofsky: The Fountain & The Wrestler Full Making-Of
- Watch “Metamorphosis”, Black Swan’s Full Making-Of by Niko Tavernise
- Niko Tavernise on the Learning Curve Shooting 6 Making-Of for Darren Aronofsky
- Darren Aronofsky: Digital Effects Are Changing the Craft of Filmmaking
- Sounds of Aronofsky: a Video to Listen to Closely
- AFI Promotion 1992: Aronofsky, Libatique, Field, Silver and many more… What did it look like?
- Speaking in Images: Matthew Libatique on Building a Cinematic Language and the Future of Film
- Black Swan’s subliminal editing frame by frame
Mor About Film Score:
- Must Watch: the Coen Brothers and Long Time Composer Carter Burwell Discuss the Power and Importance of Film Score
- Composer Jeff Beal on Working With David Fincher to Create House of Cards Title Theme
- Music Composer Danny Elfman Talks About His Long-Time Collaboration With Tim Burton
check the archives for a taste of it.