by Brian.


The Angel has been creating good music for quite some time now. Either by Dj-ing, founding the enigmatic 60 Channels, producing several side projects, remixing, or following her solo career, her music has reached across the music field and finally gotten a grip on film. Besides her absolutely perfect score for Boiler Room, her music has appeared in the likes of Til There Was You and Gridlock'd. Her projects range from down-tempo Bristol-style beats to hiphop-influenced jams to jazzy numbers to straight-up techno. Her scores exhibit a wonderful groove that tends to fit the film perfectly, regardless of its tone. More info on her can be found at her homepage and 60 Channels. After listening to her great commentary track on the Boiler Room DVD (sorry Ben and Giovanni, but she had more to say!), I was indeed lucky enough to catch up with her via email as she was busy getting her new album ready for release. This is what she had to say.

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CW: How did you get into scoring films?

ANGEL: I was approached by music supervisors who were aware of my work as an artist and producer. That led to my small contribution to, "'Til There Was You" and it allowed me to cut my teeth on something fun and in a situation where I didn't have to carry the film. At the same time, my publisher, was pitching my songs to the music supervisor of "Gridlock'd" and once I met with the production team, they asked me to score rather than contribute songs. It was a long road to finally score part of that film because the studio was nervous about using a composer, who was not seasoned, so they hired Stuart Copeland and myself to work on different parts of the film individually.


I know this is an unfair question, but do you prefer scoring films to writing original songs? If that's unanswerable, what are some important strengths and weaknesses that scoring film holds over working with different projects for you?

I really don't have a preference, which is why I'll continue to do both. The skills used in both arenas are so different that it is really refreshing to go back and forth between them. Film projects tend to take over your life to a large extent and the schedule is quite gruelling with the pressure to output quickly, being enormous. However, there is a different kind of pressure when I'm working on songs since I also produce, I'm essentially in the director's seat and the buck stops here.


You have some DJ experience as well. Do you think that's helped you at all when it comes to film?

Not so much for film work, but I've been told that the songs I've produced over the years have a strong dj ethic. It must be the way I layer and combine the musical elements as well as the way I program beats.


An easy one. How important do you think music is to a film?

Music can make or break a film and that goes for the licensed (or source) music as well as the score. The most successful marriage of music and film is where the music really "lives in" the film and is not distracting or overwhelming the action. It's job is to support. Having said that, not every film needs to be punctuated by music throughout and sometimes it's use can be overkill. It surprises me that the studios are generally of the opinion that an experienced composer can save a terrible film... It's a ridiculous notion. And this is one of the many reasons why it is so difficult for new composers to break in to the industry.


Some filmmakers incorporate music very heavily into production, even going so far as to note the song that should play over a scene in the script. Have you encountered this in working with any directors? If so, do you find it to be more of a help or hindrance?

Directors that are savvy about the kind of music that they want for their film is a help not a hindrance for me. Ben Younger knew exactly what he wanted for "Boiler Room" and that made my job infinitely easier. Often I'll read scripts and like you say, there are many specific references to songs... It all depends on the kind of movie being made as to whether or not it is a useful guide. Often first time filmmakers just stick their wishlist of favorite bands into their scripts. Sometimes they are completely inappropriate.


One thing I've noticed with your work is that it's always very close to (if not determining) the tone of the film. You mentioned in your commentary for Boiler Room that you talked with director Ben Younger a great deal from the day you were hired. Do you think this constant communication with the director makes a better score?

Good communication with the director is possibly the most important ingredient to help the composer deliver a score that the director is happy with. However, constant communication doesn't always make for a better score because not every director always knows what's best for their own project. The job of the composer is to present a wealth of possibilities and to be flexible enough to go in whatever direction the filmmaker chooses. What the audience winds up hearing after all is said and done is up to the filmmaker or in some cases up to the studio.


The music you've created for films is in a very different tone than the music you produce for yourself and 60 Channels. Do you think this is due to the film's influence on you or is it just your area of interest at the time that dictates what you do?

The film dictates it's needs to me... This may seem a strange way to put it, but it is the film's style that begs a different sound and approach on an individual basis. The music I produce for my various recording projects varies because they are also like a bunch of different film projects, they each have something different to say. My latest artist project is being released under the name The Angel. This is where my recording persona started and I'm coming full circle back to my downtempo "left of center" arena. 60 Channels is much more experimental and heady.


Are there any similarities between working on a film and working on a remix? Although I have no experience with either, having a source to react to and take from would unite the two in my mind.

I suppose in the way that you describe it, there is a similarity of mindset and approach. But with remixes, there really isn't someone that I have to answer to. I am given a song and asked to reinvent it... I work alone on the piece taking into account, the overall vibe of the band and what thery are trying to achieve by having their track remixed and then I do my thing. Scoring is completely interactive.


For those that don't know, what is your method of writing?

For songs I always start with either a musical element or a beat with lyrics and vocal arrangements to follow. However, because of my remix sensibilities, I usually come back to the track once the vocals are in place and embellish the backing track further. I'm very sensitive to sounds and find that a particular sound or instrument will insinuate a different melody than another. With film it's all about feel, so I search for the right sounds and get inspiration there first and then build around it.


Do you feel that sampling and arranging digitally over writing and recording in a more traditional manner ultimately makes the process easier or harder? Do you feel the process give you more freedom and expandability?

The process definitely gives me much more freedom. Everything is in my head and since I'm not a great musician, my ability to program music gets those ideas into the real world. Some people are scared off by the notion of sampling and arranging in this way, thinking that it must create soul less music. However, a lot of the music that I have produced (and all of it is programmed) feels acoustic and live, because I almost always incorporate live instrumentation even with my most electronic leaning tracks. These things are just tools - the end results are down to the skills of the carpenter.


What do you think about BT (who's done one or two films now), the Dust Brothers (who scored Fight Club), and groups like Orbital (who worked on some score for Event Horizon) who are venturing into the realm of film score? Do you feel that you and these other musicians are bringing a breath of fresh air to the doldrum world of film music?

In some ways yes, in other ways I think that some films are starting to look like oversized music videos... again it's all down to the filmmaker and their agenda. I think it is a postive thing that the acts you've mentioned, who have a more contemporary approach to scoring films are getting a shot at it... it is proving that traditional orchestration is not the only valid option.


On a final note, are there any upcoming film projects that we might hear your work on?

There are a couple of projects in the works, but their schedules are constantly getting pushed back and rearranged, so it may be too early to talk about them. However, I am concentrating on my artist projects and have a new album being released in May 2001. The album "No Gravity" is by The Angel and it features some of my extended family of vocalists, like Tre Hardson (The Pharcyde), Navigator (The Freestylers), Mystic and Divine Styler. At the same time I'm working on the next 60 Channels album and a remix EP for that project as well... enough to keep me busy until 2002.


Thanks a lot Angel! Everyone go buy her album!


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