The ex-band drummer, has previously worked with Refn on “Drive” and “Only God Forgives” and this time was challenged by creating even longer musical pieces for specific scenes.
“Nicolas Refn was the first director that I worked with that told me, ‘Give me a nine minute queue for these five scenes,’” the composer said in an interview with KCRW’s, The Treatment. “And that happened in ‘Drive’ and up until then I had done four, five minutes at most.”
“For ‘Neon Demon’ he goes ‘Remember that thing we did for ‘Drive?’ I was like, ‘That really long piece of music?’ He goes, ‘Yeah, I think we need something like that again to tie together these six scenes,” continued Martinez. “I looked at him and said but in ‘Drive’ that was like nine minutes, we’re talking about about 17 minutes now? And he goes, ‘Yeah, whatever.’ So it gets longer and longer, but I welcome the challenge.”
Martinez also spoke about the difference between scoring a television series like “The Knick” compared to feature films and the change in his work over the years. He also talked about how he related to the film and some of the techniques he used for “The Neon Demon.”
Listen to the full interview by clicking HERE.
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