All language subtitles for 10 Sound Design and Scoring

[MUSIC - JULEE CRUISE,
"MYSTERIES OF LOVE"]

Yes?

Yeah.

(SINGING) Sometimes a
wind blows and you and I--

Music, as everybody
knows, is magical.

And what you try to do in a
film is get the correct music.

Music, to my mind, has to
marry with the picture.

It has to form a union.

And it can't just be
any piece of music.

It has to be the
correct piece of music.

There might be, out
of 10 trillion pieces,

10 that will work.

But when you pick the one, you
pick it because it marries.

And then the way
the music enters--

I love you, Jeffrey.

--and how it rises and falls--

I love you, too.

--and how it goes
out is also critical.

So it feels correct
as it's moving.

And a hope is, when all
these elements get together,

that the thing can jump and
be that thing-- the whole is

greater than the
sum of the parts.

This-- oh, it's a long story,
this-- this-- this thing.

It's a story of me meeting
Angelo Badalamenti.

I wanted the "Song to the
Siren" by This Mortal Coil

to be in "Blue Velvet."

And Fred Caruso, bless
his heart, looked into it.

And they wanted a
whole lot of money.

And Fred said,
David, you're always

writing these little things on
pieces of paper, these things.

Why don't you write something
and send it to Angelo?

And he'll write a song for this.

I said, Fred, there are 25
trillion songs in the world.

I want "Song to the Siren"
by This Mortal Coil.

What makes you think I can
write these little things

on a piece of paper,
send them to Angelo,

he's going to do
something to top that?

There's no other
song that I want.

So one thing led to another.

And eventually, I sent
these little shrivels up

to Angelo, these lyrics.

Angelo laughed at them.

He said, they don't rhyme.

They're not like
traditional lyrics.

He tried one thing
that didn't work.

And he said, well, what's wrong?

I said, it's gotta
sound-- sound angelic.

It's gotta float.

It's gotta, you know, have
this angelic floating.

So he got Julie Cruz.

And Julee Cruise and
Angelo worked on it.

And then it had this
very, very beautiful feel.

I still loved, and
always will love,

This Mortal Coil's version
of "Song of the Siren."

But I got to use it in "Lost
Highway", you know, after this.

So-- but "Mysteries of Love"
does have a good feel for this.

And it's turned out to be,
in my book, a good song.

When we started
working together,

I would sit next to
Angelo on the piano bench.

It was a Rhodes piano.

I would talk to
Angelo with words.

And Angelo would play my words.

And if I didn't like
what he was playing,

I would change my words.

And then, little by
little, my words changing

caused Angelo to play
something that was just right.

And once Angelo caught
that thing that I liked,

he would take off.

And it was a magical--

a magical thing
that was going on.

Once he caught a thing, this
great talent of Angelo that

pulls your heart strings, this
most beautiful stuff comes out.

And many times I'd start
crying, it was so beautiful.

It was incredible.

I work that way with Angelo
still to this day, talking,

and him playing.

Alan Splet was legally blind.

He wore contacts.

But if he did have
glasses on, they

were the classic
Coke bottle glasses.

And so he couldn't get
a driver's license.

So I always thought that
this sense of hearing

went way up in Al to compensate
for his, you know, blindness.

And also, Al loved, um, high
quality sounds, clean, full

sounds.

So miking things and getting--
and he'd love to experiment.

So he loved to you know collect
sounds and, at least with me,

make sounds.

But he just had a great
ear and authentic--

authentic, natural
things recorded

in the most perfect way.

And technical, you
know, genius, too.

He was really a perfectionist.

That's what Al-- he knew
that that's what I wanted.

And so Al, when he
worked with anybody,

he would try to find the
sounds, the best quality

sounds, or best--

you know, create
the best quality,

particular sound for that film.

I can tell you an
example of a sound Al

and I built for "Eraserhead."

We filled the bathtub with water
and floated a Sparkletts water

bottle just barely, barely
touching the water bottle,

and a microphone down inside--

you know, halfway down inside
the Sparkletts water bottle,

and just gently moved
it around the tub.

And it had this
fantastic ethereal--

it was a unique sound.

It had a ethereal quality that
sort of danced and it moved.

And it's in "Eraserhead" in the
scene with the beautiful girl

across the hall and Henry in
the bed-- you know, love scene.

[BABY CRYING]