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9 771745 916024 Issue 33 Jan/Feb ’ 11 £3.95 050 The Black Swan Issue CLINT MANSELL WAS ONCE THE POP-PUNK VISIONARY OF THE

1980S. HERE, HE GIVES LWLIES A DETAILED BREAKDOWN

OF HIS EXTRAORDINARY PATH TOWARDS BECOMING THE

MOST EXCITING FILM COMPOSER OF THE LAST DECADE.

WORDS BY JAMES WRIGHT

ery few musicians can “Originally I was only meant to write the Pi hadn’t come out by this point so we still had make the jump from music for the opening titles, but after a few no idea how it would do – and he said to me songwriting to feature conversations with Darren [Aronofsky] he asked that I’d done a great job and that he thought film-scoring. Even fewer if I could write a piece on spec based on the if I wanted to, I could do this for a career, which can claim to be one of script,” Mansell continues. “So I wrote what was had never crossed my mind. Then after the the finest in the business. basically a variant of the main theme that was success at Sundance [where Aronofsky received But when Pop Will Eat Itself used and I had to take it down to their offices. I a Directing Award, and the film was nominated for disbanded in 1996, Clint Mansell remember being so nervous because it was quite the Grand Jury Prize], I got a couple of calls to found himself directionless in a frosty New York a personal thing for me, and it’s never easy to work for other films and although nothing really City, and ready to start that journey. put yourself out there. So Darren being Darren, came together, it made me start believing in what “I was at a strange place,” he admits. “I still he got everybody around this boombox to listen Darren had told me. thought of myself as a songwriter at the time to it and luckily for me they loved it. From there, and I wanted to write an album, but I didn’t it just progressed really, and with every piece of think people wanted to listen to an emotional music that they couldn’t license, I had to write a middle-class white boy who’d moved to New piece to replace it. “Some time passed and Darren calls me again and York. It’s hardly gripping stuff. Anyway, my then- “The experience was a real eye-opener says he’s got this new project based on a book by girlfriend introduced me to Eric Watson, who because before meeting Darren I didn’t know Hubert Selby, Jr. We’re talking about the film and was producing Pi, and was talking to just about if I had anything to say or where I was going, he mentions that he’s spoken to a few people who everybody and anybody who could contribute but he kind of gave me this belief that I could are interested in scoring it – like Lou Reed, who something towards the film because they had do it. In truth, Pi liberated me. I remember that knew Selby, Jr himself. For whatever reason, and absolutely no money. after we’d finished, Darren called me up – and I honestly don’t know why, Darren says he wants

051 me to do it. I think that’s when I first started Lake. I just thought that there was no point in believing I could actually do this. He didn’t have trying to pretend that I’m this classical appreciator. to sell me on it; accepting Darren’s invitation was What we’ve done is kind of what Vincent Cassel’s a no-brainer. After Requiem for a Dream, it took Aronofsky six character says at the start of the film: Swan‘ “The thing is, Pi worked on the emotional years to move ahead with his next project, the Lake has been done to death, but not like this, level, but in some respects it was still a tad one- ambitious sci-fi epic The Fountain. But despite stripped down and raw.’ That’s where we thought dimensional musically. With Requiem [for a Dream], spending the intervening period working on we should start. me and Darren agreed from the start that we scores for The Hole, Sahara and Nic Cage’s “So where Tchaikovsky had written a 16- really needed the next stage, and at the time directing debut Sonny, Mansell admits that bar passage with 144 notes in it, I would strip I don’t know if either of us knew whether we he was still daunted by the challenge that The that down to a repetitive four-bar loop that had that in us. Fountain represented. “Even though Requiem had maybe 24 notes in it. So the essence “At the same time,” Mansell says, “we initially taught me a lot, I don’t think I was quite ready for of Tchaikovsky’s piece was still there but it was now had some trouble with the music because The Fountain,” he confesses. “In the time between something totally different, something haunting Darren had this idea that we could use classic the two, I was able to build up a team of people and psychological. We had to do that because if you hip-hop and somehow rework it. So we tried and I learnt a bit about working with orchestras, took Swan Lake as it is and used it as a modern a couple of these themes, and the one that just discovering myself in the context of the film film score it would be laughable, because it’s I particularly remember was ‘She Watch Channel scoring world. so obvious – it’s telling you everything going on Zero?!’ by Public Enemy, underneath the scene “Eventually, we were working on the top floor with these grand gestures, but that’s just not me where Ellen Burstyn’s character first takes the of the Brill Building in Times Square. Darren would or Darren. pills. It looked fantastic, but Darren said, ‘Well, edit the film all week and I’d be in another room “It’s funny because I saw somebody on yeah, it looks great but it doesn’t do anything across the hall writing music. Then come Friday Twitter say they were trying to imagine the other than look great.’ That put a spanner in morning, we’d deliver everything to Jay in the edit grand conversations that Darren Aronofsky the works. suite to see where we were at and talk about and Clint Mansell must have about their work, “We were at a loose end; it wasn’t a blank what was working or what wasn’t. It was like a but in truth it’s nothing like that. It’s like a lot page but there was no piece like I brought in on very intensive boot camp. But that’s how Darren of problem solving, it’s never high-solution Pi that galvanised everything. So I created this works – he’ll always drive people to their limits and conceptual; it’s just a case of nuts and 18-track CD of ideas – because by this point without a doubt, and there were… ‘heat ups’, bolts. Maybe that sounds unromantic, but we’d actually moved on from cassettes – and I’d shall we say. But that’s purely because we were I think because we’re always quietly bouncing written one track that was classical, using strings constantly pushing each other to make it the very these ideas around from a very early stage, as opposed to beats and electronic stuff and put best it could be. there’s never any great revelation. Maybe it on the scene where Marion [played by Jennifer “People think, ‘Oh, you’re living in New York, unconsciously I’m always quietly travelling along Connelly] is leaving the psychiatrist, and it worked you were probably out all night, partying all Darren’s intended path anyway and that’s how it’s fantastically. It moved her down the hallways and the time,’ but nothing could be further from always been. outside with the lightning, but it also had this the truth. There were endless nights looking at “I don’t know how this is for other people, but sense of dread. It was like the film had suddenly my computer and walking home at midnight, all to for me, I can pinpoint how my life changed for the come to life. get up at 7am and do it the next day, which is better when I met Darren,” Mansell concludes. “I “So, I did this thing, which is probably highly sometimes what it takes. It was a very intensive mean, it’s obviously impacted on both of our worlds, illegal now, where I took stabs of orchestral affair, but from my point of view musically, it’s one undoubtedly more so mine than his – I’m sure he chords and then I cut them all up and laid them of the best experiences I’ve had; all that time, could have found another musical collaborator across the keyboard in my sampler. I just recorded that closeness to each other. You have the time and maybe the outcome of his work would have all these different rhythms – it was essentially to really focus on the film in a much deeper way been slightly different, but I think that his quality beats playing strings. When I first sent it to than if it had been done six weeks before the end, would have shone through all the same. Darren and Jay [Rabinowitz] who was editing and I think it’s certainly one of my best pieces of “The thing is, I’ve worked with other the film, they probably thought, ‘What the fuck work and it really benefited from the experience filmmakers and they’re not like Darren. is this?’ because it was very rough around the we endured. I undoubtedly do my best work with him, edges, but they said, ‘Okay, that’s off the wall, and that’s down to the relationship that we let’s see where you go with it.’ have. We don’t hang out all the time – he lives Darren’s always been like that – he’s never in New York and I live in LA – I think we’re both a said, ‘I don’t like that.’ He’ll always allow me “Those incidents have helped me tremendously little bit ‘internal’, shall we say, we’re not the time to develop ideas and I think that’s because after The Fountain, I knew I was particularly demonstrative hangers out, and because he believes in me, even if he doesn’t prepared for anything that got thrown at me,” I think that probably works for both of us. quite see where I’m going at first. In fact, he continues. “With Black Swan, me and Darren It’s something that’s sort of emotional and the only conversations we have about any knew there was going to be a lot of work, and it connected, the things that excite us must sort of dilemma are always about time. He’ll never did seem a little daunting at first, but we worked have a lot of common ground. I’ve never really rein me in or do anything to discourage me. It’s through it. When we set out, we had this mindset analysed it, but I think that’s why we have always been a very open environment that Darren that nothing was sacred because the score is a great connection and why we’ll continue creates, which is obviously great for me.” essentially constructed from Tchaikovsky’s Swan to work so well together in the future.”

052 The Black Swan Issue