In the middle of the storm that is having just released the soundtrack for Good Time and working on his new album under his well-acclaimed alias known as Oneohtrix Point Never, I was lucky enough to speak with Daniel Lopatin about his recent scoring for Good Time, his collaboration with Iggy Pop on it, working with the Safdie Brothers, and about how to make music timeless. Confident, assured, yet humble, Daniel quickly turned my questions into long conversations that match the curiosity which defines him as an artist.
Daniel started out his project of Oneohtrix Point Never in 2007 releasing interesting and ear questioning experimental electronic music. Throughout the futuristic cyber musicality found in Daniel’s music, there was also a profound amount of emotion and at the core of it, humanity. This is more than ever proved throughout Daniels recent score for the Safdie Brothers directed film, Good Time. “They were so sweet. It came from such a good-hearted place. There was constantly an energy and excitement to it. We knew we were making something cool,” was Daniel’s response to me questioning how he approached this film with an open mind, despite the directors themselves being longtime fans of Oneohtrix Point Never’s music. “We were creating it on a shoestring budget, so we were just having fun,” recalled Daniel, “Half the time we were making the score and the other half we were just geeking out on some David Michael Frank score from a Seagal movie.”
Listen to the complete interview in the second edition of our BTA Podcast below:
The film stars Robert Pattinson as Connie, the constantly moving and thinking main character. The approach of the soundtrack as a character was something that became clear throughout the film as it reflected upon Connie’s struggle and his battle with time and himself: “Once we had decided that the score was going to be kind of an instrumental aspect of the film, then the job was set. It had to be as good as the other characters.”
The film has received such a warm response from the general public as well as he has already been awarded Best Soundtrack at the Cannes Film Festival as well as Best Original Score (Feature Film) at this year’s HMMAs, that its score is questioned to be up for an Oscar nomination: “It’s not something I massively desire, but it’s interesting. At the moment it’s a curiosity.”
Finally, I thanked him for the score that reminds one of snippets and an homage to sci fi scores from the 80’s. The score specifically reminds one of a time when synthesizer music was peaking or to another time entirely that hasn’t reached humanity yet. To conclude the interview, I asked him about the futuristic aspect to his music and how he keeps the music modern and at the same time linked to the already created musical image of Oneohtrix Point Never. His response was an advice to every artist out there: “Love music, don’t love Oneohtrix Point Never. If you love music, you’ll never repeat yourself and you’ll never get old at heart.