’s work has been recently reissued, there was a biography of Wendy Carlos out last year. I know what you found in the archive dictated who ended up in the movie, but what were the challenges in relying on what was available?
Oh, it was nerve-wracking. I was so intimidated. But they were both so generous and warm and just fascinating. I’m not a musician, but I definitely feel really connected to who they are, what they did and their struggle. It feels all too similar in a way. What I loved about meeting these women is that they just felt so modern. They felt like contemporaries, basically.
I was talking to Rayna [Russom] who is the lead [synth player] of LCD Soundsystem and she had this very interesting point about how people really struggle to call it music because it didn’t fit on the record. You couldn’t commercialize it. It’s so brave to be making that kind of music. But then again, like what Sara Davachi says in the film about Suzanne, she fucking made it. She made a living out of making weird sounds and what a role model that is for all the people making weird sounds today.
Something I thought was interesting, and I know you said the archive really dictated the form of the movie, is how short the section is on Wendy Carlos. The film kind of creates this juxtaposition betweenand then you go right into that quote from Suzanne Ciani about that album being retroactive.
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