Speaker 1: Pushkin, never before as a TV show come along with
Speaker 1: a soundtrack so incredibly haunting that I couldn't shake it.
Speaker 1: That's what happened when I first heard the score for
Speaker 1: writer and director Mike White's HBO show White Lotus. Cristo
Speaker 1: Baal Tapia deVie is the composer and musician behind all
Speaker 1: the sounds and the score that ranged from percussive African
Speaker 1: and Latin instruments to gut role human chance. When I
Speaker 1: first heard the show's theme that You're hearing now, I
Speaker 1: was all in. It sounded like some sort of crazy,
Speaker 1: deranged version of Herbie Hancock's Watermelon Man. Crista Ball Tapia
Speaker 1: deVie is a Chilean composer based in Canada who studied
Speaker 1: classical music at the Music Conservatory in Quebec. After dabbling
Speaker 1: an electronic music production and playing drums in various bands,
Speaker 1: Vir's first big break as a composer came from his
Speaker 1: score for the British thriller Utopia. On today's episode, I
Speaker 1: talked to the vier about how he came up with
Speaker 1: White Lotus's striking sounds game. He plays the stems from
Speaker 1: the score and talks about how he initially set out
Speaker 1: to create a Hawaiian hitchcock sound. De Vier also explains
Speaker 1: how he created the signature tribal sounding vocals from the
Speaker 1: show after being summoned to California by Kanye West. This
Speaker 1: is broken record liner notes for the digital Age. I'm
Speaker 1: justin Richmond. Here's my interview with Krista Bull Tapia de Vie.
Speaker 1: How did you get approached even for the show to
Speaker 1: begin with? They called me in January and they send
Speaker 1: that script and I love the script. I thought it
Speaker 1: was one of the best script I've read in a
Speaker 1: long time. So I took the meeting with Mike and
Speaker 1: I don't know, he was great, Like he's a pretty
Speaker 1: easy going guy, at least to me. We talk a
Speaker 1: little bit. We made some jokes about, you know, doing
Speaker 1: a Hawaiian Hitchcock and this and that. He didn't want,
Speaker 1: you know, comedic music, like a typical comedy show music
Speaker 1: or anything like that. And then I went back to
Speaker 1: the studio and for about three weeks I was just
Speaker 1: recording not stop but Hawaiian hitcock. But that was your phrase,
Speaker 1: that was your way of thinking about it. Yeah, yeah,
Speaker 1: I told him that. But it's not because of the
Speaker 1: style or trying to emulate Bernard Herman or you know,
Speaker 1: anything like that. It's just that he wanted to feel
Speaker 1: that something might be happening, something, something's bubbling underneath what's
Speaker 1: happening there, and it feels like somebody's gonna die, somebody
Speaker 1: is gonna be sacrificed, whatever, anything like that. So I
Speaker 1: guess I supposed to people's attention to other things that
Speaker 1: what's obvious. What's interesting for me lately is that, like
Speaker 1: I've been doing lots of interviews more than usual for
Speaker 1: this show for the music because people, like you said,
Speaker 1: people are really I don't know, something happened with the music.
Speaker 1: Something is touching people about this. And the thing is,
Speaker 1: I'm really more a musician. I'm going to say that,
Speaker 1: let's say, a composer, because in the sense that you know,
Speaker 1: I had this little talk with Mike and then I
Speaker 1: go to a studio and my brain is processing stuff,
Speaker 1: but I'm not thinking about any of it. I don't
Speaker 1: have graphics and designs and calculations about what the music
Speaker 1: is exactly doing to every character and every moment. And
Speaker 1: then at the end, you know that this is going
Speaker 1: to happen and people are gonna feel like this, like
Speaker 1: it's not a master plan whatsoever. It's really really like
Speaker 1: super super spontaneous and very fast. And then it's done.
Speaker 1: And afterwards, when people started, you know, asking me about this,
Speaker 1: I realized I didn't know what you say. So there
Speaker 1: wasn't like a thought about doing things a certain way. There's,
Speaker 1: for example, the voices. I don't know, like the lead voices.
Speaker 1: I wanted the lead vocals to feel like just a
Speaker 1: human singing. But there is some processing, but it's not
Speaker 1: a processing that you feel like. It's a digital processing
Speaker 1: like auto tune or whatever. It's gonna it's gonna make
Speaker 1: you feel like you know this sound. You know this
Speaker 1: from pop music. You have all these auto tune notes
Speaker 1: that are all very straight and perfect and stuff. So
Speaker 1: we are used to that digital sound now, so I
Speaker 1: didn't want to go with digital effects. For example, I
Speaker 1: was changing the pitch or the voice by changing the speed,
Speaker 1: which is the oldest trick in the book. Like you
Speaker 1: have tape and just played the taipdown and you have
Speaker 1: a lower note. That's the basic idea. I think it's
Speaker 1: less detrimental to a natural voice, at least for me
Speaker 1: for what I needed to do. I mean so you
Speaker 1: have these singing voices that are doing stuff that if
Speaker 1: you try to sing it, you're not gonna be able
Speaker 1: to because there's something weird happening, Like there's something not
Speaker 1: human about it. Because I change the notes in a
Speaker 1: way that a person couldn't do. So you feel the
Speaker 1: raw quality. There's jumps, there's jumps in the yeah, the
Speaker 1: dramatic jumps. Yeah. So you have this quality that it's
Speaker 1: a real voice. It's not a you know, like a
Speaker 1: robot sample or something. But there's something that you can
Speaker 1: you can't point your finger on, but you feel there's
Speaker 1: there's something weird happening. And maybe that's upsetting too in
Speaker 1: a way, because I'm wondering if people feel about that
Speaker 1: the way they feel. You know, when you watch a
Speaker 1: horror movie and you have a character that's a human,
Speaker 1: but then you realize there's something weird about that human,
Speaker 1: that it's not quite a human. There's something odd, And
Speaker 1: this is actually more scary than monsters. I think in general.
Speaker 1: It's when you when you believe there's something like you
Speaker 1: and it's not like you at all. It's something that's
Speaker 1: siding there. There might be some danger or whatever. Yeah,
Speaker 1: how did you decide on the instrumentation. Like so when
Speaker 1: you leave that meeting with Mike and you kind of
Speaker 1: leave with Hawaiian Hitchcock sort of mind, did you immediately
Speaker 1: know what instruments you wanted to maybe use or did
Speaker 1: you have to kind of lay out some and try
Speaker 1: and kind of a process of elimination on the instrument
Speaker 1: It was more by addition, I would say, in the
Speaker 1: sense that I just started recording some shakers for a while,
Speaker 1: and then after when I had those shakers, then I
Speaker 1: can play something else. So I'm jamming with myself, just
Speaker 1: gonna play some other drums, and then when I have
Speaker 1: those drums, I'm gonna again start over, and I'm listening
Speaker 1: to everything I recorded previously, so it's basically just jams.
Speaker 1: And I believe everything I recorded in the end I
Speaker 1: did use because once I had all these percussion beds
Speaker 1: and whatnot, I could decide whether I might need a
Speaker 1: little bit of pianos later on or just a little
Speaker 1: whatever other instruments. Maybe I don't know. Maybe it's because
Speaker 1: we didn't have much time. It was very it was
Speaker 1: very fast, so there was not much thinking and I
Speaker 1: wasn't in a mode where I'm gonna you know, I'm
Speaker 1: gonna try something for a while and maybe it doesn't work,
Speaker 1: so I'll try something else. In this case, it was
Speaker 1: it has to work. Like I'm recording all this stuff
Speaker 1: and in my mind this is working, like all the time,
Speaker 1: whatever I'm doing, it's just working, and I'm moving forward.
Speaker 1: That's not how you typically work, I imagine, right, it depends.
Speaker 1: I mean, if you have lots of time, courses, lots
Speaker 1: of procrastinations, which is not good either. So I suppose
Speaker 1: in general, I mean, any composer in general would complain
Speaker 1: not having the time to do what they want to do,
Speaker 1: being too rush or something. But I think there's something
Speaker 1: good about it for me in any ways, this feels
Speaker 1: a lot more spontaneous. I think that that it could
Speaker 1: be if I spent a year in the studio with like,
Speaker 1: you know, do the usual thing you call the best
Speaker 1: musicians in town and whatever, and it's just everything takes
Speaker 1: forever and you're doing this pristine recordings and stuff there was.
Speaker 1: This is very homemade. It feels very right. It feels uncorrected, unproduced.
Speaker 1: Were you happy with it when you turn it in? Oh? Yeah, yeah,
Speaker 1: I was really happy. I was happy that they that
Speaker 1: might liked it first, because I mean there's a there's
Speaker 1: an adjustment period where the first time people get tracks
Speaker 1: for their shows, it's a bit scary. You don't know
Speaker 1: how they're going to react, and they need time to digest,
Speaker 1: which is normal, particularly if he's you're sending non standard music.
Speaker 1: But in this case, it went really well. And and
Speaker 1: there's only Mic I mean there's only one person. I mean,
Speaker 1: he's the creator of this thing and he's doing everything.
Speaker 1: So I mean there are other executives and and whatnot,
Speaker 1: but what I mean is like he was the main focus,
Speaker 1: I mean what he wanted. So it's it's faster and
Speaker 1: much easier. And I mean unless you have a problem
Speaker 1: with that one person then then then then that's it.
Speaker 1: But uh yeah, it's much easier not having that, you know,
Speaker 1: twenty five cooks in the kitchen. We'll be right back
Speaker 1: with Crystal Ball t happier to hear. After a quick break,
Speaker 1: we're back with more of my conversation with Crystal Ball.
Speaker 1: Tapia Devier. So, when you sat down to create the
Speaker 1: sound and the music for the show, what's the first
Speaker 1: thing you recorded that actually made it to the final mix.
Speaker 1: It's probably the second piece of music on the show
Speaker 1: when the show starts, like this old school music, something jazzy,
Speaker 1: and then right after that we see a big shot
Speaker 1: of the of the hotel and that is like a
Speaker 1: very loud track with the same voices that you find
Speaker 1: in the theme, but is more of a wild tribal thing.
Speaker 1: You wanted to show you what the voices are. Please,
Speaker 1: So okay, So that's that's the lead from the theme.
Speaker 1: And then so this in particular that beat there, So
Speaker 1: that's that's the first voices I tried, and I put
Speaker 1: it on that track and it worked and they liked it.
Speaker 1: What was the thought that led it? Was it like,
Speaker 1: I want to play with odd vocals, which is strange voices.
Speaker 1: There is this tribal aspect, this war cry aspect, all
Speaker 1: of these things that fit well with what we wanted
Speaker 1: to convey with this show. So it could be associated
Speaker 1: with many things. You know, it could be natives that
Speaker 1: have been abused forever, but you know, the white privilege
Speaker 1: and everything, so could be that there's some of that.
Speaker 1: It could be some kind of ritual, ritualistic kind of singing.
Speaker 1: There is that aspect. There is the pop aspect that
Speaker 1: is purely esthetic that to me, when when I found
Speaker 1: this way of playing those voices, to me, it felt
Speaker 1: like that's it, Like that's a hit. I mean, I
Speaker 1: don't know, I don't know I hit like a radio
Speaker 1: hit or something like that. But it's a hit in
Speaker 1: the sense that the way he hits you, it hits people.
Speaker 1: I can tell that this doesn't effect this something like alien.
Speaker 1: But at the same time, people are really curious and
Speaker 1: it's like, wow, what is that voice and stuff? So
Speaker 1: so it just felt right away like I had found
Speaker 1: some gold there. He definitely did. Where did the voice
Speaker 1: sounds come from? So there's this weird story where I
Speaker 1: met Kenye West at some point. I didn't really meet him.
Speaker 1: I mean he called me and he bought me a
Speaker 1: plane ticket, and this was like, I have no idea
Speaker 1: what he wants, Like it's kennye A West. So this
Speaker 1: is a couple of years ago, and it's like, okay, well, sure,
Speaker 1: I thought it was a joke. I mean until I
Speaker 1: got to it, I thought somebody's playing a trick. When
Speaker 1: I talked to him on the phone, I said, Okay,
Speaker 1: this guy sounds like Harrie West, but you never know.
Speaker 1: I mean, it says so weird. And it's not like
Speaker 1: I'm producing whatever, you know, the new singer or something.
Speaker 1: It's just I'm doing these weird projects and stuff. So
Speaker 1: but I mean, he's he's looking for weird stuff too,
Speaker 1: so I guess. But anyhow, at some point I got
Speaker 1: to a lib and I went to his place where
Speaker 1: he works and everything in Calabasas and stuff. And then
Speaker 1: I was trying to understand what he wanted. But because
Speaker 1: this guy, he's always, you know, talking about a million
Speaker 1: things at the same time. I mean, he was showing
Speaker 1: me this new Nike shoe and speaking about music and
Speaker 1: how this Nike shoe relates to music, and it was
Speaker 1: like a new prototype. And then there's some kids that
Speaker 1: come from another room with some other prototype. And then
Speaker 1: we walked to another room and we start looking at
Speaker 1: all his clothes, the new stuff that he's coming with.
Speaker 1: And still, you know, all this time, I have no
Speaker 1: idea what's happening. I don't know why I'm there, why
Speaker 1: he showed me all this stuff. But anyhow, I did
Speaker 1: have my laptop and I started to work on some stuff.
Speaker 1: And my minding is since it's Kennyer West, I was
Speaker 1: at the hotel and I was trying to find something
Speaker 1: that is really striking, because if he takes me there,
Speaker 1: I mean, I'm not just gonna do some R and
Speaker 1: B beat or whatever. You know. I had to come
Speaker 1: up with something. And this is what happened, and not
Speaker 1: not this tune in particular, but I had those voices
Speaker 1: and I tried to find a way to play melodies
Speaker 1: that is a really striking thing. And this happened by accident,
Speaker 1: and I was like at that point I knew that
Speaker 1: this was like gold and I was Okay, this, I'm
Speaker 1: gonna show it to Kenny. So anyhow, I was there
Speaker 1: for like a week and I had to leave, and
Speaker 1: there worst problems and Kenny started firing people and his
Speaker 1: lawyers and everything was too long and I had to
Speaker 1: leave or whatever. It was a mess. Just to say
Speaker 1: this as like I'm gonna say, it's maybe a month
Speaker 1: before he came out of the closet as a Trump supporter,
Speaker 1: So I didn't know about that. I would probably have
Speaker 1: gone there if I knew, but so it was, there
Speaker 1: was lots of changing happening in his life and everything.
Speaker 1: So I just I just left at some point and
Speaker 1: I was like, Okay, he'll he'll come me back whenever
Speaker 1: he needs something. I don't know. So I had those
Speaker 1: voices the system, meaning you know, there's a girl doing stuff,
Speaker 1: and then I was playing with it with some person stuff,
Speaker 1: so I could do any harmonizing or whatever. At that point,
Speaker 1: it doesn't really matter what exactly the melody is. It's
Speaker 1: just that that system. And then yeah, so this project
Speaker 1: came out and I was, man, those tribal voices, that's
Speaker 1: exactly what we need for this. So I just went
Speaker 1: back to my system there and started finding the right
Speaker 1: melody and stuff, and that's it. It became that. So
Speaker 1: that that part Peular Harmony, the last one I show
Speaker 1: you just now, that's the one I did for Kanye,
Speaker 1: which he never heard. He never heard it. I can
Speaker 1: never heard it. So because we did, we never got
Speaker 1: to somewhere with that. So I don't know what was
Speaker 1: happening whether so lately I didn't like thinking about that,
Speaker 1: and it's like, I hope this guy listened to the
Speaker 1: White Lotos and he's like everybody else, Okay, who's that guy.
Speaker 1: It's the same guy who made it for you a
Speaker 1: couple of years ago. It's crazy to think that could
Speaker 1: have been a Kanye n I would have been perfect
Speaker 1: for Kanye. Yeah. Can you play that sound again? Can
Speaker 1: you play thost voices one more time? Yeah? So I'm
Speaker 1: playing for from the beginning. Was this part part of
Speaker 1: his Well, no, just this one. I never heard the
Speaker 1: laughing before. Yeah, because there's so much happening. I guess
Speaker 1: you know it's in there, in the chaos in there
Speaker 1: super cool. So once you had that, what was the thought?
Speaker 1: What was the move? Yeah? The main thing with this
Speaker 1: show is the percussions. Really, I recorded maybe for two
Speaker 1: weeks stucking lots of every percussion that I have. So,
Speaker 1: for example, I think I started with the tombs. So
Speaker 1: it's like I'm gonna say, there's a maybe a kick drum,
Speaker 1: a floor tom, and then some indigenous percussions like shaman drums,
Speaker 1: which are all with animal skins and stuff like that.
Speaker 1: And I started doing this kind of thing. So I
Speaker 1: did a bed of this, a lots of different rhythms
Speaker 1: with only these low drums that are softer and kind
Speaker 1: of deeper, and then I started adding all kinds of
Speaker 1: things like this, and then later building so uh, stuff
Speaker 1: like that. Then I started playing with bottles and flutes
Speaker 1: and were you playing them actually or was it a
Speaker 1: sample of someone playing them? Oh? Yeah, yeah, yeah, this
Speaker 1: is it's all like all that stuff. So the bottles
Speaker 1: is southing like this. So okay, this is when I
Speaker 1: discovered how the watermelon man works, because I never thought
Speaker 1: of water Maryland man until I said, Okay, I'm gonna
Speaker 1: try this bottle thing. So I do this who and
Speaker 1: then uh at some point I tried to do this
Speaker 1: I repeatedly, and I realized I have to breathe a lot,
Speaker 1: so I do. And when I hear my voice going there,
Speaker 1: it's like, oh, that's why it sounds like that. That thing.
Speaker 1: It's just it's just your throat, you know, it makes
Speaker 1: us sound and then you have this rhythm and it's
Speaker 1: just natural. And he's like, oh, that's it, that's how
Speaker 1: that works. So yeah, I just jumped with the bottles
Speaker 1: and tried to do that stuff. And then the flutes
Speaker 1: it's similar. Okay, so this this trick is just that. Um,
Speaker 1: I start maybe four or six flutes to make that
Speaker 1: that one line. Those the harmonies. Okay, so you can
Speaker 1: hear me there a little bit of my voice and
Speaker 1: there is that. But there's some other tracks on the
Speaker 1: show where you can really hear this kind of and
Speaker 1: the breathing and everything. So those cover all the anxiety
Speaker 1: of the breathing and the lacking air and somehow you know,
Speaker 1: claustrophobic thing. There's lots of that in general in the show.
Speaker 1: And then have some keys. Okay, so that's the same
Speaker 1: as it's just adding a little a little bit of
Speaker 1: color there. And how did you decide on that sound.
Speaker 1: I'm not sure I wanted a little kind of sky
Speaker 1: Rickie kind of thing. Um. I suppose it's kind of
Speaker 1: a riverby Keyboord that just feed with the flutes. But
Speaker 1: it also sounds like what you might hear if you
Speaker 1: were like clubbing on a private eye, like a gatabza
Speaker 1: or something like that, might be like, yeah, a bees
Speaker 1: with a demented twist. Yeah, yeah, yeah. So that's an
Speaker 1: aspect of the score that it's it's very minimalistic, but
Speaker 1: it's there. Is that there are dance little things here
Speaker 1: and there, like like this bright clap sometimes when it
Speaker 1: comes it's almost like a four on the floor. Sometimes
Speaker 1: on certain versions, I don't know how to call it
Speaker 1: electronic dancing cheesiness here and there there are some elements
Speaker 1: of you know, just party rave, whatever you want to
Speaker 1: call it. But and then afterwards I have some effects
Speaker 1: in there, okay, some people screaming. Okay, so that's that's
Speaker 1: just the chaos happening, the birds, people screaming and stuff.
Speaker 1: And it's not when you hear the song. This is
Speaker 1: not clear, but he feels like you're somewhere and maybe
Speaker 1: the people fighting somewhere in the back or you know,
Speaker 1: stuff like that. Those are like the basic elements. Had
Speaker 1: you played those instruments before, Like, are those your instruments
Speaker 1: that like go to instruments in your arsenal percussions? I
Speaker 1: suppose I always do lots of questions, I think in general,
Speaker 1: but not as much of this, uh in this was
Speaker 1: allowed to be more, I would say, maybe a little
Speaker 1: more tribal, more all out. You know, jungle feeling music, No,
Speaker 1: not jungle music the style, but like I could make
Speaker 1: music like as if I was in the jungle. I
Speaker 1: mean a lot of the instruments are like kind of
Speaker 1: like African Pigmy have lots of Latin American and African instruments,
Speaker 1: and lately I've been buying more African instruments because lots
Speaker 1: of Latin Americans instruments have a background in Africa obviously.
Speaker 1: So for example, in this show, I use a quicker
Speaker 1: which is Latin America from South America, but there is
Speaker 1: an African version of that Latin America. The one we
Speaker 1: use that it's made of metal and we used it
Speaker 1: like ba Tokada and all these big festivities. So it's
Speaker 1: a really it's a loud instrument that sounds like a monkey. Basically,
Speaker 1: it's like a monkey talking or screaming and stuff like that.
Speaker 1: So lots of the monkey sounds in the show are
Speaker 1: not samples from monkeys, but it's this instrument. I mean,
Speaker 1: all these congress like for example, Congress is it's the
Speaker 1: most like you know, Cuban and Latin American thing you
Speaker 1: can think of. But but I have like other versions
Speaker 1: from from Africa and from other instruments like they Don't
Speaker 1: Don't which is uh which which are like huge congress
Speaker 1: with skins on both sides, and it sounds even more
Speaker 1: raw that the Latin American version. I have lots of
Speaker 1: stuff like that that I use in here that are
Speaker 1: not I suppose that are not Hawaiian. But that served
Speaker 1: the purpose, which wasn't to try to make like Hawaiian
Speaker 1: music or or it's not a Hawaiian so sound at all.
Speaker 1: Some people have talked about that that they feel like
Speaker 1: it's so cool with the music, you feel like you're
Speaker 1: in Hawaii, but it's really not. But it's more about
Speaker 1: the people who are there, their wild minds, you know,
Speaker 1: they're the dangerous minds, all that stuff. It's more an
Speaker 1: imagery like that. It's a lot in the writing too,
Speaker 1: and just in the way the characters are played and
Speaker 1: the tension between them. But the music definitely propelled it
Speaker 1: the same way, like you know, when you're watching Vertigo,
Speaker 1: it's Hitchcock's you know, you might know something's going to happen,
Speaker 1: but just when the start of the movie, if you
Speaker 1: didn't know it's Hitchcock, it could go anyway. And the
Speaker 1: music really drives that you're viewing experience, you know. Yeah,
Speaker 1: I think Mike's a genius really, whatever that means. I mean,
Speaker 1: there's so many definition of genius for me personally my experience.
Speaker 1: I think he's a genius because of what he allows
Speaker 1: to happen. I felt like even he when he felt
Speaker 1: a little bit scared about something that I would say
Speaker 1: sand or whatever, he was always allowing me to try
Speaker 1: stuff and maybe to be wrong about something, to make
Speaker 1: mistakes or whatever, or to do really weird things because
Speaker 1: he's looking for, you know, interesting, interesting ideas. And then
Speaker 1: sometimes some people you're gonna try something, and when you're
Speaker 1: even starting something, they're gonna put you down. It's like, no, no, no,
Speaker 1: don't think like that. No that we're not doing this.
Speaker 1: And it's like it's like we need to go somewhere
Speaker 1: and then talk about it and then move and then
Speaker 1: more further and stuff. But I have to say, it's
Speaker 1: really weird. It's like he knew what the music was
Speaker 1: doing and how people were going to react, and he
Speaker 1: somehow told me that the people, you know, this reaction
Speaker 1: I've been seeing to the show and to the music.
Speaker 1: It's like he told me that in advance that that
Speaker 1: was going to happen. And I have no idea how
Speaker 1: how he would know that. What do you say, Well,
Speaker 1: like that, it's crazy what the music is doing, and
Speaker 1: people are gonna go crazier and they're gonna they're not
Speaker 1: gonna stop calling you and this and that, and I
Speaker 1: was like, for me, in my head, I was trying something.
Speaker 1: I was kind of happy, but I was also expecting
Speaker 1: I don't know how people are going to feel about this.
Speaker 1: Maybe it's so weird. This has happened to me in
Speaker 1: the past, where proposing something with the music and I
Speaker 1: get this idea that people are going to destroying me.
Speaker 1: They're gonna say that I destroyed the show and whatnot.
Speaker 1: So this was one of those shows. I was like,
Speaker 1: maybe it's cool, or maybe it's really really completely not
Speaker 1: the moment for this. It's not gonna work. I don't know, man,
Speaker 1: all this percussion stuff. I really yeah, I had no idea,
Speaker 1: but he seems he's in more confident than me. We'll
Speaker 1: be back with more from my interview with Crystal Balls
Speaker 1: Happy at the viear After a quick break, We're back
Speaker 1: with Crystal Balls Happy at the Year. Since the shows
Speaker 1: come out, are you getting more work and as it
Speaker 1: work that you want to do or yes? Short answer
Speaker 1: answer is yes, Um, it's been overwhelming. I'm gonna say,
Speaker 1: and I'm kind of adapting to it because it's like
Speaker 1: people when crazy, really I mean, and when I say
Speaker 1: this is like literally I have some people. We have
Speaker 1: me and my manager we have to block because we
Speaker 1: were getting like like it was a us. I like
Speaker 1: they started like straight to me, like some agents. I'm
Speaker 1: speaking those kinds of people. Yeah, and it's like it's
Speaker 1: like you're telling me, okay, I don't have the time
Speaker 1: for this. I'm okay, I don't need help. And then
Speaker 1: right away it's like texting you one text after the other.
Speaker 1: It's like you have some kind of you know, a
Speaker 1: fuck up partner that's gone psychle It's like, what's happening
Speaker 1: these people? So that's one thing. And then I have
Speaker 1: all the Marvels and Disney and all the people that
Speaker 1: I've never worked with because myself it's you know, it's
Speaker 1: too weird or too exiotic, I don't know exactly. But
Speaker 1: now they everybody's interested, and I have all these people
Speaker 1: and stuff, and I'm refusing everything just because I'm on
Speaker 1: a movie right now. And that's it. So one of
Speaker 1: the things I'm confronted with now is that, you know,
Speaker 1: I don't do the composers thing of having a team
Speaker 1: of you know, writers and composers and uh, you know
Speaker 1: helpers that sometimes they do all the job for me
Speaker 1: and sometimes you know, if it's a very big project,
Speaker 1: you know, maybe it's more me. So I don't I
Speaker 1: don't understand that stuff. That's that's really to me, that's
Speaker 1: just greed, but it's it's like beyond greed. Yeah and yeah,
Speaker 1: I would love to be a multimedia like whoever does
Speaker 1: you know Batman and stuff, but I'm not a manager
Speaker 1: and not a boss. I don't want to do that,
Speaker 1: and I want to have to check you know, all
Speaker 1: these people that are working for me and navigating all
Speaker 1: this stuff. This is just it's super weird and I'm
Speaker 1: never going to that. I don't think I'm going to
Speaker 1: do this, you know, five movies in a years, Like,
Speaker 1: I don't understand how these people they do that. You
Speaker 1: see this IMDb from composer and they have like two
Speaker 1: hundred credits. It's like it's so weird to me. So
Speaker 1: I'm trying to explain to them that, you know, it's
Speaker 1: thank you so much, and I'm not refusing because I
Speaker 1: don't want to do your project or anything. It's just that.
Speaker 1: But for them, this is really alien. They don't understand
Speaker 1: why I'm refusing stuff because nobody refuses. They just they
Speaker 1: take everything I did, do everything, and it's like to me,
Speaker 1: it's it's a little bit McDonald's. It's like I don't
Speaker 1: want to do chain work or something I want to
Speaker 1: do me. Everything is housemade, it's homemade, and it's like
Speaker 1: I'm doing everything. It is a little bit slower, but
Speaker 1: I don't. I do one thing, the one project, and
Speaker 1: that's it and then the next project. What's cool though,
Speaker 1: is that it seems like a something happening which I've
Speaker 1: never seen since I started doing this. It's like I
Speaker 1: started somewhere with Utopia where I'm kind of like a
Speaker 1: weird punk latino that is doing some weird stuff but
Speaker 1: it makes lots of noise. Utopia, even though it wasn't
Speaker 1: like a hit like in numbers, was a hitting away
Speaker 1: because to this day, anybody anywhere where I'm in London
Speaker 1: or in la or whatever, people will speak about that.
Speaker 1: They're gonna tell me, man, that that show, every department,
Speaker 1: the art, the music, it was. It was really something
Speaker 1: so and now the White Lotus seems to have done
Speaker 1: that in the US because the Utopia was more of
Speaker 1: a UK thing, right, But now with the White lotos
Speaker 1: is it feels like I'm less of an alien now.
Speaker 1: But they're calling me because that's the thing, Like somehow
Speaker 1: it's becoming the thing that they want to be completely
Speaker 1: surprised completely. They want something else, Like it's like, all
Speaker 1: of a sudden, the tire of this Hollywood sound. They
Speaker 1: don't want that anymore. They want in your face, they
Speaker 1: want melodies. They want, you know, the music to be
Speaker 1: a character. This isn't that. And of course maybe they're excited.
Speaker 1: You have to see if that's possible, because of course,
Speaker 1: you know, with people putting lots of money into projects,
Speaker 1: then they hear something weird and they become scared and
Speaker 1: they say, oh wait a minute. Yeah, a lot of
Speaker 1: pressure with that. A lot of pressure comes with that.
Speaker 1: If you can be the one though, to bring you know,
Speaker 1: melodies back into this and just really d mcdonaldize, you know, yeah,
Speaker 1: d mcdonaldiz. That's that's a true man. Be appreciated. Yeah, definitely,
Speaker 1: Thank you so much for taking the time to do this, man,
Speaker 1: I really appreciate it now. Prob thanks to Cryst of Balls.
Speaker 1: Happier to be here if for taking us the stems
Speaker 1: first thing for the show White Loads. You can hear
Speaker 1: his work by checking out at playlist we made on
Speaker 1: Broken Record podcast dot Be sure to subscribe to our
Speaker 1: YouTube channel at YouTube dot com slash Broken Record Podcast.
Speaker 1: We can find all of our new episodes. You can
Speaker 1: follow us on Twitter at broken Record. Broken Record is
Speaker 1: produced helpfully a Rose, Jason Gambrel, Martin Gonzalez, Eric Sandler,
Speaker 1: Jennifer Sanchez, and with engineering help from Nick Chaffey. Our
Speaker 1: executive producer is Me and LaBelle. Broken Record is a
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Speaker 1: Our themis Expect Henny Beats. I'm justin Richmond.