yes CFC a minor
I'd never met anybody that likes to work
as hard as I do
until I met Dan it's one of those
collaborations where the skill set
really comes together incredibly fluidly
to me you know I write sort of tunes and
chords in a very kind of primeval
basic way and he is a fluency with wit
music that allows us to be really
articulate with with the emotions and
film and every time we do music together
it's it's the most crazy but also
functional and exciting beautiful
processes of making the films I would
say
it's a completely different process
recording a film story as opposed to
recording a band I mean with film scores
you temp out the entire thing of
synthesizers before you go in and play
one note you know or at least in the
process that I'm using with a band you
have you just start recording right away
with film score it's like acceptable
specific things like one violin note
changes everything or is like in pop
music it's a lot more of like let's try
this does it sound cool yes no I don't
know you know it's like throw this on
throw this on see what sticks I've been
playing music since I was like at seven
years old I start taking guitar lessons
and then I started to like playing in
rock bands in high school but I went to
college for music and I've been
producing albums I've been pretty
writing songs and stuff but I didn't
start scoring films until I met Ben my
first film score which was a death of
the Tin Man was a short film that Ben
and I were together bill was the town
pariah the most hated man and a 20-mile
radius the reasons for this were unclear
then I hung out for for like I guess
like ten days straight was working all
day on this on this ten minute score and
you know and I love doing it and that's
how Ben and I start working
vegan viewing I feel like what Ben does
is that because he scores the film's
with me and he know he kind of has an
idea of what the music is gonna do later
on so I feel like he intentionally
leaves certain parts of the movie out so
that the music can fill it in
sometimes the way that we work with will
have we'll know where the piece begins
we know where it ends and then Ben will
point to places on the screen a buddy
need them to cry there ok let's do it
this exact spot is where every
instrument Invista Sunwell was recorded
all the violins and violas and cellos
were they sat right here and use this
microphone to record it this is a pro
min TM one hand-built by Dave Pearlman
out in Los Angeles and all the
percussion that we recorded was oh god
and Mike's name is Brooke all the
percussion we recorded was using this
Royer 121 it gets a more kind of like
Tom Waits II weirdo lo-fi sound for
stuff which is very important to us this
is my baking sheet that I use we didn't
use it on beats but it's one of my
favorite sounds I think it's very
beautiful I really like using cooking
ware as my percussion this was one of
our most important percussion
instruments the table and it doesn't
sound like much when you just hit it
normally but once you put a ton of
distortion on it it becomes this
humongous aggressive sound we use quite
a bit it's magic to me you know cuz I
you know I I write music you know but
but I don't have the same sort of you
know I don't sort of see the matrix as
well and and dan is a real ability to
kind of you know just find like a shape
but it's just a slightly different
voicing of a chord or a way to bring in
very subtle emotions within within a
framework of a theme
I feel like Ben and I have this kind of
like soldiers in a foxhole vibe when
we're working together it's like and
it's like you know we're like sitting
there you know with the enemy outside
and we're just like ready for anything
Davin and both men and I feel like are
just happiest when we're in front of the
computer together gonna piano together
you know make music it's great that
we've been working together so long and
then we know that we're gonna keep on
doing this the rest of our lives that's
a doesn't feel like a change just feels
like we get to get to stay the course
and keep on