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"We've never been cool; we're hot. Irish people are Italians who can't dress, Jamaicans who can't dance." — Bono

Song For A Heroine

Propaganda, Issue 2
The film Captive is due to be released in September. It is the story of a "Rich Kid alternative group, who end up getting shot"(!), and sees the return of Oliver Reed, as the Heroine's wealthy father. The Edge now talks us through a bit of history and his involvement in the film.

"I had this inkling that doing a film score would be a nice aside. In fact, in true U2 fashion we'd started mentioning it in interviews well before we'd actually thought it out (or in true Bono fashion, I should say!). Anyway, having had the idea and spoken about it, it wasn't until September last year that there was the opportunity to do something.

"Everyone thought it would be a good idea, and I also had some music, which I'd written in London. I made a 'demo' recording of the songs, by myself with Larry doing some drumming on them. Then I had to find a movie to work on, which actually proved very difficult.

"I got Anne Louise to get in touch with all my favourite film directors, and none of them returned my call!! NOT ONE! I was a little disillusioned, to say the least, till Anne Louise found David Putnam (and English director) and that was the contact we needed."

ENTHUSIASM

"He was very enthusiastic, and knew all about the band, and me, and said, 'Look, you've been going about this the wrong way. Here's some people to phone, and there's a particular film which I think would be suitable, called Heroine. The producer is a friend of mine, called Don Boyd.'

"I rang him, and he sounded very enthusiastic too, and much more open than the American producers had been. We organised a meeting with the director, Paul Meyersburg, who described the plot, and I gave him my demo tape."

COLLABORATING

"The next step was to go and see some of the film in Paris. It so happened that Bono and Adam were on their way back from picking up some awards in Italy, so we converged on Paris and saw a lot of the 'rushes' and early sequences which had been put together. We liked the look of the movie and the overall feel of the film, plus they'd already put some of my music over the sequences, which seemed to work. I made contact with Michael Brook, who I'd spoken to in London when I was writing the music. He came over to Dublin, and we spent four days in the studio.

"Michael's a bit of an all-rounder. He's a guitarist, a keyboard player, a producer and also an inventor. He has invented a few innovative things, like the Infinite Guitar, which I'm getting heavily into now. That's a kind of sustain, but it's totally controllable and goes on for as long as you want.

"He's also a solo artist with some records out on EG Records, which is Eno's label, one of these is an album called Hybrid. He also works quite closely with Brian (Eno) on his video exhibitions.

"Michael is extremely good technically, he's very together on that level. That was really useful for this film project, as we were using a lot of keyboards, sequences and so on."

BALANCE

"We got together and finished it off just after Christmas. In the second session, we worked with a singer called Sinead O'Connor, who did some vocals for us. That worked very well, and the result is a very pure sound. It's uncomplicated, yet very sophisticated at the same time.

"Working in music for a film is a totally different world. The relationship between the film and the music is crucial. Getting the balance between the visuals and the sound is extremely difficult, but I enjoyed the challenge immensely."



© Propaganda, 1986. All rights reserved.