Jim Coleman Quotes
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First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.
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Yes, I was forced to take piano lessons for 8 years as a child.
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I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut.
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As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.
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I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.
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In scoring, I usually start with a sound or group of sounds, searching out what feels right.
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For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.
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I've had a lot of highs in my life and a lot of lows, some pivotal experiences, and in ways I feel like I've already lived a couple of lives.
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And I don't know where I'm heading. I mean, I've got a pretty good idea of what I want in life.
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So, through playing with Cop I realized that there is a potentially interested audience out in the world.
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When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.
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And I think that I'd be a natural for scoring horror movies.
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With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.
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Also, differences of opinion can be creatively stimulating as well as frustrating.
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And when that's working, the sum can be greater than the parts.
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I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life.
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I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.
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I'm just like you, only I'm different because I'm me.
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I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.
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Then I took 8 years of French Horn, first jazz, and then classical.
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I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.
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But in my college years it got to the point where my friends and I didn't do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that.
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And I definitely have an affinity with the piano.
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But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.