After he’d worn out the carpet in front of the slot machine for another three years, speeding along with persistent punkers the Dickies and scoring an episode of Pee-wee’s Playhouse among other activities, Martinez lined up his lemons and broke the bank in 1988. He’d been making sound collages — “body noises, pots and pans, sound effects, played rhythmically. I was working the cracks between music and sound effects.” Mark Mangini, a sound designer who’d been asked while working on the film Alien Nation for “some sound effects that were kind of like music,” had heard Martinez’s stuff and asked him to give it a whack on spec. “They never used any of what I did, because the music was really pretty nutty,” says Martinez. Anyway, while Martinez and Mangini were listening to it, Mangini’s roommate butted in and started making suggestions. “We hit it off great. I could tell he was not a musician but had a great instinct about how to use music in films. He said, ‘This stuff would be perfect for my next film, sex, lies, and videotape. Would you like to score it?’” The roommate was Steven Soderbergh, then an unknown. You are correct: Martinez did not decline.
– Greg Burk
Great article from 2003, not to be missed. Read the full text at L.A.Weekly