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Ray Pride

By Ray Pride Pride@moviecitynews.com

David Byrne On The Wall Street Soundtrack

Via David Byrne’s mailing list, notes on his substantial contribution to Oliver Stone’s latest. “On Friday, the movie Wall Street: Money Never Sleeps comes out, and I’m all over the soundtrack! Oliver Stone’s film recreates scenes from the bank collapses and bailouts, and the attendant shenanigans of a couple of years ago… and of course Gekko is back. Stone approached me about music a while back, and I met him at an office and gave him a pile of records. He ended up mainly using a lot of songs from my recent collaboration with Brian Eno (“Everything That Happens Will Happen Today”), a few songs from recent solo and dance score records, and a reprise of “This Must Be The Place,” the Talking Heads song that was used in the first Wall Street movie. It was almost like I’d scored the picture. Stone was super accommodating – inviting me numerous times to view rough assemblies to be sure I was OK with how the music was being used. This is pretty unusual; most times licensing a song for a movie is a bureaucratic formality, and the artist is never invited into the process. That said, I’ve only turned down movie song use once or twice for aesthetic reasons – if I thought a scene made unfortunate associations with a song. If you’ve got these recordings already, this all won’t mean anything to you, but if not, and if you see the movie and wonder, what was that music? – here is your answer. The music, along with some score pieces by fellow Scot Craig Armstrong, is available today on iTunes, and via all the usual download and online outlets.” (Info.)

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3 Responses to “David Byrne On The Wall Street Soundtrack”

  1. Andrew Turrieta says:

    What a wonderful choice…Creative art begets creative thought, and once again we see ourselves in ways we would otherwise never have.

  2. The first thing I noticed was the music (which I hardly ever do) and that continued throughout and that’s why I am at this site.

    Next; the movie itself was well filmed and presented a tough subject. Over all I learned that Corporations/Banker/Anyone in chaoots with government is a bad thing; while capitalism without government can accomplish wonderful things (as if America doesn’t know this) as in the case of the the power company brought to fruition in the movie. Good movie story, acting and music.

  3. Proto - Lifetime Byrne fan... says:

    I too, am here because of the movie score. It made me pull this album back into my regular play lists. Great movie. Greater music…

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon