Boyle’s process is simply making playlists.“What you tend to do is compile a kind of playlist of songs that you thought might be interesting for the editor, or sometimes on set for the actors to listen to, something to inspire them or to create the mood for a scene. But you basically give a playlist to the editor and then you start playing with it in the editing. You can tell right away some stuff works that you thought never would and other stuff that you’re certain is going to work is terrible as soon as you try it. And it sort of talks to you really.”
Boyle laments over never being able to use one of his favorite songs in a film."White Man (In Hammersmith Palais)," The Clash song. Which is like the greatest song ever written, I won’t hear any arguments about that (laughs). I’ve tried to use that in like ten films, but it doesn’t quite make it, I mean at the time you have to be tough even with your loved ones.”
On both the difficulties and advantages of working with composers.“I’ve tried a few times. I worked with Angelo Badalamenti, who was a fantastic composer, on “The Beach,” but I couldn’t really give him the film and I’ve apologized to him. There was a very important theme in the film where the composers come across the beach and he wrote this lovely theme for it and I didn’t use it in the end. I used “Porcelain” by Moby because it was a track. And I realize in retrospect it was me kind of not surrendering the film to someone else enough. You’ve got to trust the composer and I’ve learned that. I’ve been very fortunate to work with John Murphy, Rick Smith, and A.R. Rahman and be able to hand over the film to them more. I’d still give them the tracks and say ‘Maybe?’ (laughs). They use it as inspiration, sometimes as a guide, but often the counterpoint it. I’ve learned that and it’s really improved me as a filmmaker working with them.”
Boyle champions for British music, but not British film.“I think we [the British] are brilliant at music. For such a tiny place -- and you often get these things with films and people often say ‘Oh the British are coming’ because the British has successful film parts -- but actually we’re rubbish at film really. You know we’re nothing compared to you guys [Americans], you know the Indians, the French, because it’s not in our DNA, it’s not in our blood, but music is. And if you’re talented in Britain you tend to get together in a group with your mates and start making music and for us it’s just more we pour out this music. And it’s not slavish, it doesn’t like follow trends, it’s kind of like it’s own thing. It’s got that slight arrogance about it, that idiosyncrasy about it.”
The music of “Trance” follows McAvoy as he is hypnotized."On “Trance” we had a song called “Sandman” by Kirsty McGee Frank Cottrell Boyce, the writer we worked with on my film “Millions,” he sent me that years ago. And we’d been working a little bit on “Trance” and I always thought ‘That’s the song to “Trance” really.’ The way Rick worked on the music with “Trance” it’s not like the standout song, but it was always there right from the beginning. And when you hear the song, if you know the song, you’ll kind of hear how it might be a song about this film when you’ve seen the film."
“Basically the film is made up of a series of trances. What happens in the film is [Rosario Dawson’s Elizabeth] takes [James McAvoy’s Simon] through a series of trances, deeper and deeper into trances. It is ethically very, very dubious, but clinically possible. It was really interesting discovering that. And professional hypnotists will provoke you to think you’re fine, you’re safe, you’ll never be fully asleep, you’ll always realize what’s going on and you’ll never do something that you don’t want to do anyway. Well that wasn’t quite what we discovered, to be honest. So that’s the interesting premise of the film and it was up to Rick to try and score these trances as you go deeper with him. It’s that weird mixture of, it’s relaxation, but you don’t want to make the audience fall asleep and yet it’s got to make it look like McAvoy’s being taken into a trance, so that was Rick’s puzzle to try and balance those together.”
“The way it worked out is we have a series of songs and they’re trying to sustain an affectionate tone, either enjoyment or relaxation. There’s a couple of songs like that and they’re counterpointed with Rick Smith’s score. And Rick’s score, for reasons that we can’t absolutely tell you because it’d spoil your enjoyment of the film, actually tracks a gathering darkness about the characters as the film goes on. The film is propelling along and that’s what Rick’s score does as well. In the sense of trance music, like electronic dance music, that felt like a really good way. Also it slowly, subtly begins with a gathering darkness that he’s counterpointing with these songs. There’s a song that Rick wrote at the end with a girl called Emile Sande and they wrote a love song which is the Hollywood ending. Which should give you a little bit of hope at the end after all the darkness."
On how the big songs at the end of Boyle’s films are to leave the audience feeling good.
"The thing that kind of connects all the films, probably not perfectly, but certainly to a degree is there tends to be a character in it who faces really impossible odds. And the surge that you get is obviously that he succeeds or she succeeds in overcoming those odds in that way. You want to kind of lift people with your hero I suppose."