New Interview
Ludwig Göransson

Ludwig Göransson: “I’m building a puzzle”

November 13, 2019
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Ludwig, as a film composer, how do you experiment with sound?

My doors are just completely open. I’m always trying to experiment and combine different instruments you haven’t heard together before, different styles of music you haven’t heard together before and different styles of production — for instance, you take something really old and organic like a flute but then you wind it through a modern production element, creating some effects on it that you haven’t heard before, almost like having a combination of the old world and the new world.

You did that for Black Panther’s Killmonger theme, right? Apparently you used a trap beat over a Senegalese fula flute.

Yeah, and that’s what I love about film scores and film music, because you experiment to find new ways and can have completely different experiences. Black Panther was a journey for me. I had to physically go to places I’d never been before like to Senegal in order to research traditional African music and instruments and meet people and discover instrumentalists that I’d never met before, like Baaba Maal. And then there’s also more of a mental journey.

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Last week’s Interview
Pedro Almodóvar

Pedro Almodóvar: “Keep it on the rails”

November 6, 2019
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Mr. Almodovar, which part of the filmmaking process interests you the most?

The part during the writing when things appear from the emptiness. You need to write a lot and you need to write every day, but you can get hooked on that experience. The exciting thing for me I always part from reality right when I start writing, like the first page or the first two pages. If I am interested enough, then it’s like a novel, and I keep on writing to discover what happens next. It’s like a big adventure that if you want to know and if I want to know what happens after these two pages, I need to write them. you discover and write at the same time, and this is an experience that I am looking for all the time.

Is the rest of the process just as exciting?

I mean, after that and this is a big period where you start shooting, anything can change because when you write, even about things that you know, the script is something abstract: perhaps I don’t describe this kind of table, this kind of place, the glass, the light, the vistas, there are many things that are not put in the lines. Then immediately it’s like reality; the reality of shooting, in which everything is real, material, physical — and it’s a kind of shock.