Friday, 20 November 2009

Sound & Vision

Although there's next to no money to be made in writing for film, and all along the line the musician's vision is subordinate to that of directors, editors and producers, the chance to be a mere cog in a much larger machine seems to offer welcome relief from the essentially solipsistic nature of songwriting. All that autonomy, freedom of expression and relentless self-analysis can be burdensome.

"One of the hardest things as an artist or musician is that you're expressing yourself, and you sometimes feel you're not ready to do that," says Damon Gough. "When something like this comes along, you can detach yourself from it emotionally. I felt attached in many ways, but when you're writing music for someone else, you can step back. Basically, it's not about me – that's what makes it easier. Trying to please other people is different and enjoyable." Writing for film was a way to escape the inside of his own head.

Featuring interviews with Karen O, Goldfrapp and Badly Drawn Boy, you can read my cover story about pop musicians writing for film in today’s Guardian 'Film & Music' supplement.

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