The latest episode of Score: The Podcast features an interview with Daniel Lopatin (Oneohtrix Point Never) about his synth-heavy score for the new movie Marty Supreme and more.
Lopatin talks with hosts Kenny Holmes and Matt Schrader about the new film, his work as Oneohtrix Point Never, vaporwave, his score for the film Uncut Gems and more.
In his review of the film, critic David Ehrlich says that “Daniel Lopatin’s synth-driven score is so intricate and voluble that it functions like a second screenplay.”
The Marty Supreme soundtrack is electronic, with influences ranging from Tangerine Dream and Vangelis, new age music and more. You can preview it below:
Video Summary:
“Electronic music pioneer Daniel Lopatin (aka Oneohtrix Point Never) joins SCORE to discuss his explosive new score to A24’s MARTY SUPREME, directed by Josh Safdie, as well as his background as a godfather of the late-2000s “Vaporwave” music genre and his ongoing record producing with singer-songwriter Abel Tesfaye (The Weeknd).
Daniel dives into his early life and discovery on early electronic musical instruments, and how a meaningless corporate job helped inspire some of the hallmarks of Vaporwave music, as heard in his 2010 release Chuck Person’s Eccojams Vol. 1. Daniel dives into vaporware’s inspirations and it’s ongoing influence on his albums, work with the Safdie brothers (GOOD TIME, UNCUT GEMS, Showtime’s THE CURSE and A24’s MARTY SUPREME), and music producing career with The Weeknd.”
Daniel Lopatin is a musical genius, thanks for sharing!
saw the movie and thought a lot of the song choices were bizarre based on the time period it portrayed but clearly aimed at a certain age group audience.
Any more bizarre than Vangelis doing a synth soundtrack for Chariots of Fire?
Vangelis showed how well this approach can work 40 years ago.
Why is using a synth soundtrack for a period film any weirder than using an orchestra for a science fiction film? If it works, it works.
that was the point, also what age group? 55 year olds who listened to some of the chosen songs when they came out or young people who can appreciate someone using synthesizers in a score just as older people appreciated movies that used synthesizers in a score during the 60s and 70s?