Who is How To Dress Well?

Wanting To Work With Directors Bruno Dumont and David Cronenberg

How To Dress Well: “Cinematic means in this sense I think—people use that adjective like—it’s not often the case that pop music or music in like a pop form, deals with really complicated emotional situations in a way that cinema has become really, really adept at. Like if we didn’t have movies, maybe someone would call it poetic. Cause poetry is the ability to synthesize—the infinity if poetry is that Ican say something like ‘the sun is the sea.’ The sun isn’t the sea. But like it can say it, and then you have all these ambiguous feelings and shit.

 

My music is about complex, intense, ambiguous, sometimes overwhelming, sometimes disturbing affective situations. I don’t see anybody else doing pop music that’s doing that.

 

“My music is about complex, intense, ambiguous, sometimes overwhelming, sometimes disturbing affective situations. I don’t see anybody else doing pop music that’s doing that. A lot of the music that I love is doing that. This new Antony [and the Johnsons] single “Cut the World” is just like this amazing, beautiful piece of music. Mount Eerie is making to me the closest thing to ‘sound films.’ These songs are voyages, and they’re so full of images, and different emotions, and so much feeling. I said yes to that question, ‘Is your music cinematic?’ because yes, I want the songs to be kinds of voyages with really complicated, emotional payloads.

“I wouldn't want to score Videodrome, but I would score Dead Ringers, or maybe a new film of [David Cronenberg], because he’s moved into kind of a more dramatic register. I guess not so much with Cosmopolis, but with the History of Violence, Eastern Promises, and then the Freud movie. They’re all kind of in a dramatic register that’s less sci-fi, if sci-fi at all. I would love to work on that.

 

I also really like the idea of doing longer form music. Like preparing a more or less seamless 130 minutes of music. Sounds. Really like dialing in my spirit and coming up with sounds and textures which trace the same effect that the film is tracing. That just sounds like too much fun to me.

 

But then this guy Bruno Dumont is just one of my favorite living artists. His films are super, super on the one hand really subtle, and supple, and on the other hand really fucking crazy and violent. This contrast produces such an emotional shock, that like, I’m just moved to tears by every single one of his movies. A final scene in his movie called Humanity, which is like a big name for a movie that actually pays off, like you’re watching it and you’re like ‘fuck this shit is so real, so true.’

The final scene is insane! This guy just hovers off the ground for no reason. He’s just looking out and then just hovers eight-inches off the ground, unexplained. It produces this ambiguous feeling. Just thinking about it right now I’ve got goosebumps. I’m completely moved. So if I could work with someone like him, and contribute in some way to a work of art that’s moving on that level, it’d be an absolute dream come true.

I also really like the idea of doing longer form music. Like preparing a more or less seamless 130 minutes of music. Sounds. Really like dialing in my spirit and coming up with sounds and textures which trace the same effect that the film is tracing. That just sounds like too much fun to me.

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