'Horror is a universal language; we're all afraid.'
[1958]. I thought to myself, “What’s so disturbing about this?” I met him later in life and he told me that he’s playing seconds, a musical mistake that grates at you, that puts you on edge.CARPENTER: I was heavily influenced by a movie called[1956]. That’s all electronic scored, the first one ever. It’s mind-boggling. The sound—what is that I’m listening to? What the hell is that? Not a typical movie score. It’s really interesting.
PORTNER: Your Michael Myers is an iconic character, maybe up there only alongside Jason Voorhees from that time.[1973], which had a robot gunfighter. He kept coming back. He wouldn’t stop.] Do you think the imagination is still flowing in the horror world today?PORTNER: Do you think it’s always been old ideas just coming through the subconscious?
CARPENTER: Yes. It began in school. We didn’t have any money. We made movies for nothing. You got your friends and classmates to act in it, you shot it, you were just figuring out how to do it. Okay, I want music on my movie. Well, you can take it from a record or you can get someone from the film department who knows a little bit about music to score. I did a couple of scores in film school, mainly on the piano. And I did it on my own films for nothing.
CARPENTER: In movies, it all starts with a story. What’s the story about? If the story is about a little girl who goes to the candy store and goes home happily, that’s one kind of a movie. If that little girl goes to the candy store and behind the counter is some evil guy and she runs home screaming, that’s another movie. What is the story about and how do you support the story with music? That’s what it’s about.
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