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Composer Mica Levi on Why Going 'Under the Skin' Was "Really Mental"

Interviews
by Ryan Lattanzio
April 4, 2014 1:15 PM
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'Under the Skin'

Cymbals are part of her character and part of her world, and those are the energies of her world and the warmth of her planet. The mixture of cymbals in this fast string-playing that happens in the beginning and throughout is the alien life form. Then there's this note that starts to establish itself, and that's her connecting, her manual process. And then there's this love music, as she's breaking through her humanity, based on this synth string chord I held onto for a long time. You're starting with these darker chords, with the hunger and everything like that, and ending up at this very pure, very simple kind of chord. So the five themes are: her makeup, the cosmos, the aliens, her job music, and her feelings.

Who is Scarlett Johansson's character, and how does the music work to convey information about her?

She's just doing her job, from my perspective. She's hungry. She's after something. She's got a craving of sorts. She's on the hunt but then she gets affected by humanity and, for me, the feelings and experiences, these rushes of emotion, the measures she takes [because of them] are so extreme, in my mind. She's basically putting her species at risk. She takes a move to risk her people on the basis that she's having these really big feelings and for me the only thing I could relate that to was being a teenager. You have these overwhelming emotional experiences, and take risks that as you get older you maybe don't take, but there are those rushes of feeling that cause you to take such actions, like her love, ecstasy, euphoria.

What's different about writing music for a film? Is it like writing for another person?

The way we were working, it wasn't like it was being done for a person: it was done so that the work could be as good as possible and consistent, and that's basically the same whenever you're working. You just want to service the work. I suppose it's not as abstract, but I was guided was to be really abstract and to write what was the right thing. I found it less restrictive, in a way. You're working within style's limitations and with this, the film was pretty open.

Was there any music Jonathan Glazer asked you to hear to get a sense of what he wanted?

He wasn't specific like that. He's weary of being specific like that. He talked about the music working separate from the film. He showed me some films he really loves. But that would've been too short a process. It would have been too restrictive, and to find the film's tone you have to look at it from three different angles and the answer would come out through that. He spoke about it more like, "imagine somebody just chucked 20 bottles down a hill," or, "what does it sound like to be on fire?" Those are the questions that were getting asked…That's the sort of way to get to the right answers as opposed to using a rarefied version of that. 



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