Danielle Fman, Arkansas, T-Bone Burnett discussed on WTF with Marc Maron Podcast
And you, you know, you he says watch this, you know, feel the tone and apply your wizardry. Well, you know, we I I I'm not a film scorer by profession. You've done enough. I do it. I love what point do you? Call yourself that man. I don't think I'll ever called myself that put, but I, but I love to do I love to put image and music together. And and I just always stay inside the character. I come from completely in the characters. So in this case, the it was a character who is degenerate whose mental state was degenerating. So we started off we started off with the idea that this was a dangerous place. Right. His brain know, the place of the Arkansas Arkansas, Vietnam where all of that. Yeah. But the planet earth is dangerous place getting getting there. Yeah. But, but as as we go into it, we we started not quite as discordant a place as we get to as his mind ju- just to integrate, and so, you know, as we went along things got more distorted more discordant. Oh, okay. More fractured. Right. And that and you're matching sound to that. Yeah. I I don't I don't believe that the music is supposed to lead the viewer through. Right. The emotions right or I believe it's the the music is is supposed to stay with the character. Oh, interesting. And that's something that you conceived, or is that something that was passed down to you, buy some other some elder. No, you know, I I will say Danielle Fman taught me a tremendous amount about film scoring and he is a master. And he has he is a film scorer. Yeah. And other things so in if you don't consider yourself a film score necessarily, you are somebody that does sound tracks. Yeah. I do. I sort of just helped with the music. That's your job. T-bone Burnett helps with music. That's it that's on your business card, but I mean at talking about darkness and talking about I mean, I did I listened to the the new record a couple of times that the invisible light acoustic space, and it seems a little dark. Well, that's it is dark meditation on the culture we're living in. Yes. It is. That's, but I do feel there's a great deal of light in it. But it's invisible. I think that's the well. No, I kind of got what you were saying because I mean, it's it's it seems different in in musically than than a lot of your records. There is more space in there is a sort of more of a almost mystical continuity. That's there's not it's not about hooks. Most it seems like most of the songs are are spoken word poetry almost. And that beat poetry. Yeah. Yeah. You seem to like that. It comes comes and goes throughout all your stuff. That's right. It's usually a tune or two or you're just talking. I think of myself. Has a beat generation person. Do you? I mean, I think we're still a beat generation world. Oh, yeah. Everybody says cool. Now, will you know, cool was away. It was a term that came about that African Americans initiated or vacated in is the way of not to get shot in the street for doing nothing. Are we will be right? You know and junkies had to be cool. Yeah. Sure. Arrested. So it it came from that world. And you know, but at the time, it was it was only the initiates understood it sure everybody uses it. Yeah. Yeah. You know, the beach innovation. They've redefined the way we look at everything really sex politics. It started during the second World War. When all the men were away. The dancers the dance stopped happening..