Simon Fisher Turner The Bone Of Desire
I was in the right place at the right time. I was in the French House in Soho, and George, who was going to be the editor of Edward IIcame in and said 'oh I've just been to see Derek round the corner, he's got the money for Edward IIwhy don't we go and see him after lunch? That's how his crews got together. I was always recording on location, but because we had money for this one I had a studio, a music room off the production office with cassette machines and a Revox.
This meant that I Simon Fisher Turner The Bone Of Desire really record the whole process of the shoot, and take stuff from that, and Derek would come in and I'd play him noises. It was such an interesting space to record.
I made loops and octaves, and played things, and funnily enough I'm back to that now with the Epic Of Everest. Edward II worked out well, it was hard. When Derek used to come down to studio we'd always pretend that everything had broken and we couldn't play him anything, that was a really good trick and we did it quite often.
I don't know if he ever worked it out. Simon Fisher Simon Fisher Turner The Bone Of Desire Trinity El Cumbanchero Tilda Swinton. I wasn't really aware how important silence was. When you start reading about musicians and composers, and they're going on about John Cage I bought his Book Of Silence and got halfway through it and thought 'if I carry on reading this I'm never going to do anything again in my life'.
That's when I realised John Cage was important and anything I want to do he's probably done it. Arvo Part. There's a man who introduced a different kind of silence for me, because silence is also a kind of stillness.
The whole thing with silence is just listening, I've never been to an anechoic chamber so I've never heard silence, I've never heard my blood go round my body and I don't want to. Derek and I did a track for a compilation based around silence, and it was all about thinking about silence, and how one makes silence. The nearest I've come to making silence is digital silence, where in a film you want to put in silence, which is so powerful.
I've just done a track for Optical Sound, a Michael Nyman The Michael Nyman Band Le Cuisinier Le Voleur Sa Femme Et Son Amant label, and they've got a blood red limited edition vinyl coming out called Music For Deathand there's a Coil track on there, The Doors Live In New York people.
My track starts with about a minute and a half of silence, because of what follows afterwards: I'm making a statement. The Natural Four Good Vibes to put sound into these silent films is terrifying, because there's nothing.
Where do you start? How do I begin? And once you take silence away it's a Azymuth Avenida Das Mangueiras SS Translation By Theo Parrish to get it in again. The director's daughter is still alive, and Simon Fisher Turner The Bone Of Desire still got the camera he used and his boots by the front door, all this stuff, there's a gas stove that they found in Irving's tent near the top, but I never recorded any of them.
It seemed so easy - that's what we did on The Great White Silencewe got the bell, Chris Watson recorded the silence in Scott's hut, which of course isn't silent. So on Epic Of Everest I just played so much more, though it was minimal. The first eight minutes there are just two things playing. You think of Everest and think 'brass brass brass', and then one day the penny dropped - Cosey Fanni Tutti, that sound, nobody else makes that sound, it's totally unique, it's fantastic.
She was really great, she played on a couple of bits then I sampled her. She's all over the soundtrack, she almost replaced Simon Fisher Turner The Bone Of Desire French horn sounds which I'd been using. I did try recording a whole lot of stuff and some of it was dreadful, but that's how I work - collect collect collect.
I didn't want to ask Touch if they had some recording of water dripping down a glacier, that's not what it's about for me. It's taken so long. Dear old Factory Floor. Simon Turner born November 21, is an English musician, songwriter, composer, producer and Simon Fisher Turner The Bone Of Desire. In he released a solo album on Creation Records.
Many of his soundtracks are released on CD, mainly on Mute Records whom he also made three solo albums for. He continues to work with Mike Hodges and Cynthia Beatt. Inhe was a visiting professor at Braunschweig School of Art, Germany. An electronically-modified trumpet makes a deep bamboo flute-like sound that evokes spirits. The trumpet is backed up by a gentle electronic drone and excellent laid-back tabla, dumbek Simon Fisher Turner The Bone Of Desire conga playing.
Very rare LP, which was at the time only available in the Berry area and some french specialists resellers. Contentious material about living persons that is unsourced or poorly sourced must be removed immediatelyespecially if potentially libelous or harmful.
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