![]() ![]() The documentary encompasses the stories of gay women in the southern music industries and the struggles they faced while owning their sexuality despite the institutionalized pushback of a male dominated field. Parsell and producer Bill Brimm are introducing their latest documentary film Invisible at this year’s Nashville Film Festival on Tuesday, October 5 at 7 PM CT at Marathon Music Works. He made it magical.Writer and director T.J. ![]() Says Coppola: “He captured something beautiful with the music that I couldn’t convey with just words and images. ![]() He conceptualized, he gathered, he composed, he had immense hand in the tone of the film.” We went with ‘music producer’ instead, because we wanted the audience to know just how much he had done. ‘Music supervisor’ just didn’t convey what he did with this film. “In the end,” Katz says, “we had to find a new title for Brian. The result is a film whose narrative appears to float on its score, a subtle, lilting, musical accompaniment. ![]() “We just tried to capture, as purely as we could, what Sofia was trying to convey,” Reitzell says. One of Shields’ original songs, “City Girl,” ended up on the soundtrack, which was released last week by L.A.-based indie label Emperor Norton. It was amazing to see how it evolved from the first idea to the final product.” It was really a revelation to see how conceptual it was. “With a film, they were playing with the original concept, doing different takes and allowing the actors to improvise. “When you’re making a record, the end result sounds pretty much like what you started with,” Shields says. Shields agreed and the two began tracking, utilizing both daily footage and Coppola’s script for inspiration. “I knew he could capture that droning, swaying, beautiful kind of feeling that we wanted.” “I knew he’d be perfect for it,” he says. When it came time to score the film, Reitzell licensed many of the songs from his mixes for the final soundtrack, including tracks from Squarepusher and Death in Vegas, and the Jesus & Mary Chain classic “Just Like Honey.”Įager for a collaborator to help compose original music for the film, Reitzell tracked down My Bloody Valentine’s infamously reclusive singer-songwriter, Kevin Shields. “Sofia listened to these mixes while she was writing and then we took them with us to Tokyo while we were location scouting.” “It was amazing,” says Ross Katz, the movie’s producer. Reitzell’s homemade CDs were filled with a selection of ambient tracks, everything from the Jesus & Mary Chain to Brian Eno. So I made three mixes called ‘Tokyo Dream Pop 1, 2 and 3.’ ” Says Reitzell: “I had been to Tokyo, and I knew what Sofia meant, about the way the city feels and the way you feel as a traveler - the kind of strange, floating, jet-lagged weirdness. I want to create a very moody, kind of melancholic movement to the narrative, so I asked Brian to make me some mixes to listen to while I was writing.” “I wanted to create this sense of disassociation, of being in this kind of unfamiliar, alienating world,” Coppola says, “but discovering something there that was relevant. ![]()
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