Cliff Martinez's Traffic
by Jason Foster
Steven Soderbergh's latest film, the critically acclaimed Traffic,
was generating strong Oscar buzz even before its release. Considering the
praise the director already received for his work on Erin Brockovich
-- combined with the buzz of Traffic -- Soderbergh is now an obvious
leading candidate for a Best Director nomination come Oscar time. Traffic,
which deals with America's escalation of the war on drugs, features an
all-star cast including Michael Douglas, Don Cheadle, Benicio Del Toro,
Dennis Quaid and Catherine Zeta-Jones; and appears to be another notch
on the director's ladder of recent success.
When it came time to score Traffic, Soderbergh called on someone
he'd already collaborated with six times, former Red Hot Chili Pepper Cliff
Martinez. And according to Martinez, Soderbergh had a very specific idea
of what he wanted. "He seems to prefer music that is somewhat emotionally
detached from the film and perhaps is more atmospheric," says Martinez.
"For Traffic, Steven wanted to go even further in that direction.
When we first discussed the concept for the score, it almost seemed like
he wanted a score that might be just as well suited to a sound designer
as it would a composer." Martinez adds that he wasn't very gung-ho about
the idea. "My initial response was to rebel," he says. "It was like he
wasn't allowing the score to play a very active role in the film. But I
didn't disagree because at that point Steven had given it much more thought
than I had. Secondly, he's smarter than I am. And three, he writes the
Martinez says that when it came time to actually write the score, the
creative juices weren't exactly flowing, adding that "the process for the
first couple of weeks was kind of staring at the ceiling waiting for lightning
to strike." But Martinez found some solace in the fact that he had already
written a score for Soderbergh in a similar vein --1989's Sex, Lies,
and Videotape -- and set out to create another score in the same "stripped
down, electronic" musical ballpark that would be both compelling and address
the dramatic needs of Traffic.
According to Martinez, the score really began to take shape when he
started working with David Torn, who used unique guitar effects to lend
a bit of textural construction to the score. "He did some incredible background
that was just in that gray area between music and sound design," Martinez
says. "Jeff Rona also made some contributions to that and I think the result
was pretty successful. The music sounds simplistic, but given that Steven
wanted something that had a real conspicuous absence (as far as) the usual
components of music -- rhythm, harmony and melody."
Martinez adds that although the backbone of the score for Traffic
is the guitar of David Torn, there's not a lot of material that's recognizable
as a guitar. "There's stuff (in the score) that sounds more like a vacuum
cleaner than a guitar," says Martinez, who points out that this concept
is typical of Torn's music, which is often made up of electronic samples.
"A lot of his stuff isn't really what the instruments are, it's kind of
the process tied to it," says Martinez, who points out that many of the
sounds in his score are traditional instruments, though you probably wouldn't
notice. "There's strings. There's piano. There's a lot of different things,"
says Martinez. "But they're not recognizable as such because of the way
they've been mutated."
"In the past, there've been various approaches to the films I've done
with Steven," says Martinez. "Sometimes there hasn't been any temp score
and he'll allow me to come up with stuff or suggest music from other composers
and kind of start from ground zero. On Traffic, he seemed to have
a very specific idea. He had a fairly complete temp score, and when you
do it with something like Brian Eno, that's pretty specific. That's not
a generic thing. I had a very specific idea of what he wanted to begin
with. But after that there wasn't a lot of contact. On the last couple
of films, one average, he's probably paid me maybe three or four visitsÖI
think after 11 years of working with him there's a certain amount of ESP
going on where I know what he wants and he knows my strengths and weaknesses
Martinez says he doesn't think his score to Traffic is anything
to get excited about outside of the context of the film. But within the
film, he says, it makes a unique contribution. In fact, he jokingly says
because of his work on Traffic and other Soderbergh films, fans may consider
him to be "the anti-Jerry (Goldsmith)."
According to Martinez, Trafficis a unique film with a score that
plays a unique role. And for whatever reason, everything just melded together.
It's a marriage, he says, that we're not likely to see again.
"Traffic was a lot of fun because I got such a kick out of the
idea that this was a $50 million picture and it (has) music that was certainly
nothing all that unique or all that original, but for a film like this
that's cast like this, it is," says Martinez. "I don't think you're going
to get another big-budget film that sounds anything like Traffic."
Check out the full version of this story when it runs in FSM Vol. 6,
Plus, you can click here to find out more about Trafficthe movie
or the album.