Amazing interview, the whole thing.
Music has become another of the most abused aspects of filmmaking. I’m mystified by the direction scores have taken in the last ten years. It’s wall-to-wall—it’s the movie equivalent of the vuvuzelas from the last World Cup! I don’t understand it at all. For me, it’s ideal when you can get the music to do something that everything else isn’t doing.
I’ve always appreciated how you don’t use the soundtrack to telegraph emotions; your scores are remarkably subtle. The Informant! was one of the few times you used music conspicuously, but it really worked for that film.
A lot of people had mixed feelings about that score. Look, it was a very specific choice in the sense that—what I said to [composer] Marvin Hamlisch was, this music is not for the audience. This music is for him [Matt Damon’s character], it’s his soundtrack. For the movie, it worked. But that’s not typically what you’re doing with a score. I think that’s why people reacted ambivalently.