A Fistful of Patton

photo by Dustin Rabin

Since the 1980s, composer/avant-garde musician Mike Patton has explored countless sounds with bands like Mr. Bungle, Faith No More and Fantômas. Now he’s trying his hand at scoring film, providing synth-bathed, big-band-on-acid compositions for Derrick Scocchera’s film-noir short A Perfect Place. In light of this career turn, we asked him about his favorite film scores. Here’s what he chose, and why:

A Fistful of Dollars — Ennio Morricone (1964)
Most of the music was composed before Sergio Leone shot the movie, and he edited to the music, which is unheard of. Some of the scenes can go eight or nine minutes without dialogue—Leone liked Morricone so much that he kept extending the scenes, because he didn’t want the music to end! There’s so much tension, suspense and ebb-and-flow. And that out-of-tune-banjo and harmonica theme is the stuff of legend.

Cape Fear — Bernard Herrmann (1962)
Herrmann is one of the greats. The brass writing in his score is so heavy-metal. He conducted his own music and, at first, felt the brass was too polite. He kept writing triple forte—strong! Finally he said, “No, the brass needs to say, ‘FUCK YOU, FUCK YOU!’” Herrmann was quite a character—real cantankerous fella.

The Godfather — Nino Rota (1972)
Obviously, The Godfather is very grim and tragic. I think Rota established that mood by bringing in some humor—there are waltzes, tarantella, a lot of traditional Italian music. It’s a little light, but I think that’s why it works. It’s not always, ‘be scared now’—not a lot of foreboding musical premonitions. Instead, Rota just creates a bed and a mood where the entire movie lays. It’s incredibly dark, but ultimately tragic and beautiful.

A Perfect Place’s soundtrack is available now on Patton’s Ipecac Recordings.