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the harold budd interview #5


HAROLD BUDD INTERVIEW PART 5. COPYRIGHT 1987 GREGORY TAYLOR
____
Great next question: What are you working on  now?  A  large
opera to be performed in Stuttgart, perhaps?

    To be honest, I'm not working on anything.

But I can't put that in print, Harold.  You'll look like  an
indolent lout.

    But it is really true.  Not because I can't  or  don't  want
    to, but there just isn't anything there right now.

I guess that could be in part due to  the  fact  that  since
your work is primarily distributed in recorded form, it must
occur in widely space and discrete  intervals.   In  between
that time, you do something else.  You do research.

    It's not like I'm sitting around on my sofa collecting  roy-
    alties or anything like that.  What I'm looking for is some-
    thing that is really going to ring my bell and then sit down
    and  get  to  it.  Of course, it's frightening to think that
    you have to begin again and find whatever it  is,  and  it's
    always  possible  that  you  may  get ready to work and then
    realize that someone doesn't want you to.

Well, we go back to your description of Albert Ayler putting
all  of  himself  out  on  the line when he gets up to play.
Writers talk about that same thing as well.  It just happens
that your version of it is more solitary than it is for most
performers.   You've  said  before  that  the  business   of
developing  a  style is the matter of taking what it is that
you do and doing it to  the  exclusion  of  all  else.   The
danger is that no one will want what you do.

    It is like handwriting in that way.  Very personal.

How did you embark on your most recent bit of  collaboration
with the Cocteau Twins?

    It was the easiest thing in the world.  They  called  me  up
    and  asked  me  if I wanted to, and I said that I did.  They
    had initially expressed some interest in covering  "Children
    on  the  Hill"  and adding a vocal track to it.  I had heard
    that they were doing to do that and I thought, "God, what  a
    wonderful  idea."In  fact  that  didn't happen-I didn't know
    that we weren't going to do that until later on.   The  plan
    to  cover  "Children" didn't actually not happen until after
    I'd gotten together with them.  The project changed  and  we
    changed  our  minds  about  things  as  we worked.  But as a
    result of these chemical forces beyond my control, the Twins
    called  me up and asked me if I wanted to work with them.  I
    said that I'd be thrilled to work with them, and that I  was
    once  of  the world's greatest living fans of their work and
    they said that they were big fans of what I was doing and so
    on.   So  I  just  said, "Yes.  You just tell me when you're
    ready to start work and we'll get  right  to  it."  And  the
    whole project was on in just a couple of months.  And it was
    easy.

What really strikes me about "The Moon and the Melodies"  is
the  mixture of your piano with Liz Fraser's voice.  There's
really been nothing like that in your work since the days of
the  "Rosetti  Noise"  recordings  (on the Obscure recording
"The Pavilion of Dreams").

    Yes, that's right.  That human voice soaring  overhead.   Oh
    yes,  and  Liz Fraser does have a marvelous voice.  It was a
    pleasure to work with her.

In addition to these records, there is also some backlog  of
music that you've got on hand for use with films as well, as
I understand.

    Well, that is the case, but the fact of the matter  is  that
    it really isn't used very much at present.

That really surprises me, in that it  seems  that  the  non-
editorial  quality  of  the  recordings  that you make would
seems to lend it self quite well to inclusion in film.

    Well, the thing is that fim music tends to be a closed shop.
    Unless that's your particular area of specialization in this
    world, it's really difficult to  do  a  lot  of  it  and  be
    involved in producing film music.  What really happens, how-
    ever, is that music is used off of the records that  I  pro-
    duce  a lot.  Especially for me, this means that it shows up
    a lot in Australia and Japan.  What's interesting about  all
    this is to see where those of us at Opal do end up; for John
    Hassel, it's French Television.  Rodelius shows up  in  Ger-
    many  a lot.  I just don't know why it doesn't occur to any-
    one to just hire the originals.

I suppose that the reason is that a producer might  be  much
more  willing  to  go with a known quantity than to take the
risk of having new work done.  The recorded work is  already
a kind of familiar object.

    I suppose so.  They already hear something that  they  think
    is  going  to  work, and they don't have to take a gamble on
    something they don't know about.

But that's so ironic when one considers that a large  number
of  filmmakers  expose  themselves to precisely that sort of
risk of unpredictability in the course of their own work all
the  time?  Why  should  their  courage fail them at such an
arbitrary moment?

    But that is the way that it works, though.  The business  of
    making  films is even more collaborative and democratic than
    making a recording.  You simply cannot do that  alone.   The
    cinematographer  in most cases has absolutely nothing to say
    about anything other than the  cinematography,  and  so  on.
    The  choice  of music is usually the producer or the company
    or some combination of the two, and what music is  used  and
    where  it  is used is very often not an artistic decision at
    all.  You may come away from the shock  of  recognition  and
    seeing  your  work  recontextualized  on film feeling either
    like it's ingenuous and charming or  feeling  a  little  bit
    like you've been mugged.

But here we are again, back at this idea that art has a life
of  its  own once it's finished and goes out into the world,
aren't we?

    Yes, I guess we are.  Well, I guess that  that  must  be  an
    important  idea  if  we keep stumbling over it as much as we
    do, mustn't it?



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