It is impossible to write about crime to a soundtrack of sixties pseudo-jazz. It is far too plinky-plink. There is a lot you can do to a background of Michel Legrand and Lalo Schifrin, but writing about the Mafia is not one of them. (The sweeping, piano descents in Legrand’s The Crowning Touch are unsettling enough, but you cannot listen to the same three minutes of music for hours and hours unless you also take the type of drugs no one can write good material on).
Therefore, I was pleased today when the postman brought more free stuff from Amazon. Amongst other things, the package contained two new soundtrack CDs for rewriting the last 50,000 words. The problem is I’m not sure Delia Derbyshire pieces such as Greek Concrete and Gothic Submarines are going to be much better than plinky-plonk for tackling the Triads.
This means the rewrites all rest on Requiem For A Dream. I never saw the film the soundtrack is taken from, but Clint Mansell’s score is amazing. It is like a party in a swank hotel given by the Kronos Quartet being raided by a bunch of Czech stormtroopers cloned from genetic material donated by Trent Reznor with added bits of conga. If I cannot write about the 14K and Kostya Mogila to something as insane as that, I really am in trouble.
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Who is Delia Derbyshire?
Delia Derbyshire was a genius. There should be statues of her. There should be Delia Derbyshire biographies on bookshelves. There should be whole Delia Derbyshire Days on Radio Three. She is also one of the women I would have most like to have gone out on a date with if I had been a young man in the 1960s.
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