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Michael Mann and Moby

The words Michael Mann and Moby almost have the same rythmic connection as their work. I first became aware of Moby’s music through the soundtrack of Heat. It doesn’t say a lot for my musical awareness, but it transformed my appreciation of his genre of sound. I have the same glowing feeling when hearing a Moby track as I do when I watch a Mann movie. It is almost impossible to watch any movie and fail to miss a track that was made by Moby. Just as Mann connects us to our emotions through images and story, so Moby connects us through music. It is a dizzying concoction when Moby and Mann are fused creatively together. Both have a puritan zeal running through them – a moral question that is continually being asked of us through their respective arts. So, I really want to devote some posts to Moby’s collaborations with Mann. I will start with a little interview I found. Moby didn’t seem that comfortable, as it was mainly one line answers. But he did say something that made me rather pleased. After reading the interview click here for a previous post, and play the YouTube clip.

INDEPENTANT FILM QUARTERLY MAGAZINE

IFQ: What was the first Moby track used in a film?

Moby: I believe it was called Ah Ah and it was used in the Ralph Bakshi movie Cool World (starring Brad Pitt).

IFQ: Was it made for the film or taken from the album?

Moby: It was adapted for the film, which tends to be the usual way that my music ends up in films. I’ll write something and then adapt it to a specific scene.

IFQ: How many film tracks have you done?

Moby: I have absolutley no idea. A lot!

IFQ: Have you ever suggested a Moby track for a film?

Moby: No, I don’t think I’ve ever suggested one of my songs for a film.

IFQ: Do you find time to see many films?

Moby: Unfortunately, because I’m on tour right now I don’t see too many films.

IFQ: Well, of the films you have seen, who do you think is the most promising director right now?

Moby: My favourite current director is Takeshi Kitano (Brother, 2000), but I also really like Mark Pellington (Mothman Prophecies, 2002; Arlington Road, 1999; Jerry Maguire, 1996).

IFQ: What’s your favorite Moby film track ever used?

Moby: Probably God Moving Over the Face of the Waters as used in the Michael Mann film Heat.

IFQ: Did you like that film?

Moby: I love Heat. I like working with Michael Mann quite a bit, even though he’s very intense.

IFQ: Didn’t you also reinvent the famous James Bond theme tune?

Moby: Yes, I did, for Tomorrow Never Dies. (It was actually his 8th U.K. top 40 hit.)

IFQ: In the future, do you see yourself doing more tracks for big budget features or independent films?

Moby: When I was young I really wanted to write music for movies, but after writing music for movies I’ve kind of lost my enthusiasm for it. I’d like to do music for movies wherein I could work with a wonderful director, big budget or not. I don’t like being handed a finished film and then being given twenty-four hours to do music for it.

IFQ: Are you working on any film tracks right now?

Moby: No, right now I’m too busy touring to think about making film music.

Melissa Silver

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