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in Filmmaking
on Jun 16, 2004

While writing the blogs below, I’ve been listening to the new CD remaster of Brian Eno’s great Here Come the Warm Jets, which was recently released along with three other Eno classics from the ’70s. Todd Haynes referenced this album in his Velvet Goldmine, and, if anything, it sounds more inventive and emotionally connecting after all these years.

All four albums are thoughtfully reviewed at Pitchfork Media, and tracks from two of them — Taking Tiger Mountain (By Strategy) and Before and After Science, along with a couple of other Eno albums, provide most of the soundtrack to Olivier Assayas’s new film Clean. Here, from Enoweb, the Brian Eno website, is a posting from a viewer, N. Onnymous, who saw the film at Cannes and unraveled its music cue sheet:

“I thought I’d mention that I saw Clean in Cannes. Eno’s music is used so beautifully — not like some semi-mysterious, darkly tinted background, which is the way his music is often used in movies, but as a kind of redemptive aura around Maggie Cheung’s character, and around her little boy. If I remember correctly, the tracks used are: ‘The Lost Day,’ ‘An Ending,’ ‘Stars, Spider and I,’ ‘Taking Tiger Mountain’ (Assayas does something wonderful with that one — in a way, it’s the little boy’s theme), and a tiny bit of ‘The Jezebel Spirit.'”

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