Lincoln Lawyer

Cliff Martinez joins Elvis Mitchell on KCRW’s ‘The Treatment’

Film composer Cliff Martinez joins Elvis Mitchell to talk intentions and meaning of auditory accompaniment in his newest work Neon Demon.

Cliff Martinez has strong roots in rock music, having begun his career as the drummer of Red Hot Chili Peppers. But, after reflecting on his love for the soundtrack of A Fistful of Dollars, Martinez broadened his musical scope as film composer behind scores for such films and television series as Spring Breakers, Sex, Lies and Videotape and The Knick. He joins Elvis Mitchell to discuss his personal music history and the thought process behind his latest musical work on Neon Demon.

The Treatment with Elvis Mitchell on KCRW

Music Review: The Lincoln Lawyer Soundtrack Album by Cliff Martinez

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The 41 minutes of Martinez’s score included on this album are much more thrilling than I expected them to be. There’s a constant undertone of dread and suspense that permeates every track of this album, but without tipping the vibe over into the type of paranoid action thriller scoring that sometimes result from this type of attempt. There seems to be a grim optimism playing out in the peppy rhythms that help maintain a positive vibe throughout the album despite the inherent darkness hanging over every note (listen to “I’m a Missionary Man” for a perfect example of this). The jumpy percussion in tracks like “Whose Side Are You On?” bring some unexpected levity to such an otherwise heavy score. Mixing in some digital effects with the guitar and other instruments gives the music a modern/urban feel that plays nicely into the image of the film. In the liner notes Martinez briefly comments on how seriously he took this score after seeing the film, and this dedication shows clearly in his music. – by Zach Freeman

Full review at BLOGGER NEWS

Film Music Magazine – Interview With Composer Cliff Martinez

Lincoln

Daniel: It seems that you’ve been a go-to composer for unconventional thrillers. What do you think it is about your sound that’s right for movies about corrupted characters?
Cliff: Perhaps being one myself is useful. I’d like to think that I do both “dark” and “psychological” well. When working with a story that is built around a potentially unlikable character, you need to fill out their interior well enough to want to follow them around from beginning to end. A degree of typecasting plays a role also. I keep getting asked to do these kinds of films and I suppose I’m getting better and more experienced at it.
Daniel: What do you think it is about your sound that brings a new generation of directing blood to you, especially LINCOLN LAWYER’s Brad Furman?
Cliff: I’d chalk that up to having scored a stockpile of Steven Soderberghs’ early films like KING OF THE HILL. Directors are discovering little-known gems like these years later. Brad was also a big fan of PUMP UP THE VOLUME. Talk about my film scoring childhood! I think that was a first for me. – by 

Read the full interview at Film Music Magazine

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