From Academy Award-winning filmmaker Sam Mendes, the personal tale in Empire of Light follows Hilary , a woman who’s trying not to let her difficult past consume her present, even though she’s making some unhealthy choices that push her to the edge. Set in a coastal town in Southern England in the early 1980s, Hilary finds comfort in the Empire Cinema, where she works alongside the newest employee Stephen , and solace in the power of movies.
It’s at least worth a chat, I would imagine. So, when you have that first meeting or conversation with a filmmaker that you haven’t worked with before, do those early days feel like something of a courtship? Do you tend to know right away, if you want to work with someone? Does it sometimes take a few conversations? What is that feeling-out process like?
I don’t and have never composed music, but it feels like it would be similar, especially very early on, to a writer staring at a blank page and wondering what to put on it.
ROSS: Yeah, and that is part of that process of getting to know the director, from the last question. We’re having these long conversations with Sam and we can talk about, “The music is gonna be really cool, and it’s gonna have this and that.” It’s just easier to make music and play it and have a conversation, rather than try to have an imaginary conversation.
Trent, there are a lot of bands that don’t last over the decades. Are you surprised to still be making music and touring with Nine Inch Nails? Do you still want to return there because it is something that is different than what you’re getting from composing music?
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