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“I referred to the original Suspiria film. It was an odd process from the beginning. When they first came to see me, the producers and [editor] Walter [Fasano], I just thought they were mad, because I’ve never done a soundtrack before,” said Yorke ahead of the film’s world premiere in Venice. “And Suspiria is one of those legendary soundtracks. It took a few months to even contemplate the idea.”

“It was one of those moments in your life where you want to run away, but you know you’ll regret it if you do,” said Yorke. “I watched the original film several times, and I loved it because it was of that time, an incredibly intense soundtrack. Obviously Goblin and Dario worked incredibly closely when they did it together.

“But it was of its time and there was no way I could reference it in any way,” he continued, until he found his way into the magic of the story. “There was no point, other than what I found interesting was they used repetition of motifs, again and again and again. Part of your mind was saying, ‘Please, I don’t want to hear this anymore.'

“That was really great,” Yorke explained. “There’s a way of repeating in music that can hypnotize. I kept thinking to myself that it’s a form of making spells.

“So when I was working in my studio I was making spells. I know it sounds really stupid, but that’s how I was thinking about it,” he continued. “It was a sort of freedom I’ve not had before. I’ve not worked in the format of song arrangement. I’m just exploring.

“I’m putting things out into my studio and seeing what my studio is bringing back. It was a sort of maybe a beginning launch of an idea," said Yorke, who then worked with Guadagnino, using the references of Berlin, 1977 and combining his own musical influences of the time period, including Krautrock, to come up with something really unique. “It was just a really cool way to totally immerse myself in an area I wouldn’t normally go with full permission.”

The same goes for the music, to an extent. Suspiria is the first film to be scored by Radiohead’s Thom Yorke, which is quite a coup, but whenever you hear him warbling, you think, “Ooh, that’s Thom Yorke!

On the plus side, the music, by Radiohead’s Thom Yorke, is suitably chilly and sonorous

By the time we’re treated to the beguiling title sequence — a dream-like mesh of morbid imagery scored to one of several haunting songs commissioned from Radiohead frontman Thom Yorke — it’s clear that we’re in for a very different “Suspiria.”

The movie, as expected, is exquisitely crafted and rich in atmosphere; it's graced by a distinctively woozy score from Radiohead's Thom Yorke that could hardly be more dissimilar to the cacophonous prog-rock of Goblin that was such an essential part of the original's sensory assault.

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śr wrz 05, 2018 09:19 am

Desplat nie robi scoru więc nie ma