Paul Haslinger Video Interview

[24db]

http://www.artistshousemusic.org/videos ... +haslinger

You know, I - you have to understand I grew up in Austria and as long as I can remember I tried to get out of there. I studied music and I played in bands. I’d do what every other person does who grows up and wants to make a living doing music.

I had some lucky coincidences. The most important one being Tangerine Dream was looking for a keyboard player for a U.K. tour in ’86. They had a studio in Austria. And the usual friend telling a friend, telling a friend scenario led to me doing an audition for them.

I got the gig and that helped pull me out of Austria, brought me into an international arena. I could stay with the band. Work with them for five years. It really gave me a start in the international music scene.

Gave me a start on more than one level. Not just as a player, as a producer, as writer, and they were also doing film music. So, I even got to explore film music. Even though it was just from a one register perspective, as I explained before. Tangerine Dream always got to ask for the same score basically. Different movies, same score.

So I was limited in that sense and I remember after leaving Tangerine Dream I moved to the States. I was signed to Private Music at the time and I was working on an album project at the time. You could still spend several years on one album. So I had plenty of time. I was staying at the place that had a record label - small underground record label next door. The two girls that ran the record label sort of opened my eyes to all the other music that I had missed. Being a part of Tangerine Dream you cannot help but seeing the world from the Tangerine Dream perspective.

In the years after I moved to L.A. I basically started seeing all and hearing all except the music and discovering that there's a whole other world out there to explore. This is when I started to really get into world music and towards the Ethnic music forms and become, I would say, more cosmopolitan in my musicianship.

That process in a way led to film music, because of the realization that I mentioned before. That in film music you are less pigeonholed than what I found the music scene to be, where you had to choose a style. You had to choose a radio format. You had to choose a record label. You had to choose what you want to be and what your image is going to be.

As a film composer that doesn’t apply so much. It's really more about the project and about the personality or celebrity or whatever story you want to invent for yourself.

So that appealed to be and it fit into this path of exploration that I started in the early ‘90s sometime.

Leaving aside the Tangerine Dream projects, because those were late ‘80s and it was a Tang - those were Tangerine Dream films. I basically spent the ‘90s reorienting myself and exploring. Started to work on smaller assignments, I think, ’96 or ’97 hooked up with Graham Revel. This sort of completed my transition from somebody who works mostly on albums to somebody who works mostly on film or music for picture anyway.

I spent about two or three years learning, observing, watching, learning to - how to work with big orchestras. Controlling a 90 piece orchestra is a project in itself and it has to be learned. You can't do it just to by saying, “Yeah, I know Classical music.”

So by the end of the ‘90s I felt that I was going to be able to go out on my own. Fortunately I was hired for a HBO film called, Cheaters, in 2000. First time director John Stockwell. I was very fortunate to be hired for that project, because I kept working with John, we’re on our fifth movie now. It was one of those long, really good relationships starting with that project. It gave me to start on my - under my own name and it's led to many other projects.

So since 2000 or so I've been venturing happily on my own. The funny answer is that I sometimes feel it was not a very intelligent decision, because if I’d decided to become a writer I could now live with laptop on an island in the South Pacific and not worry about mixing consoles or midi hang-ups or something like that.

But the true answer is, of course, I'm happy with the decision, because it's like an adventure trip. It keeps changing. It keeps presenting you with different challenges. I don’t feel I ever really get stuck in one territory too much and especially because I've managed to spread out over a different formats, meaning games, TV, and films. And I'm still doing albums and soundtrack releases. It's so entertaining in a difference of challenges that you meet that it just is a hell of a ride. Like I said, I think if I chosen to stay in the music world and do only albums there would be much less of a spectrum for me. I'm somebody who gets bored easily so I'm glad I'm never getting bored.

[epsilon75]

http://www.artistshousemusic.org/videos ... +haslinger

Well he still looks like a young pup at 43 thanks for that

[24db]

http://www.artistshousemusic.org/videos ... +haslinger

Well he still looks like a young pup at 43 thanks for that

Seems to lost the thick Austrian Accent though

[epsilon75]

http://www.artistshousemusic.org/videos ... +haslinger

Well he still looks like a young pup at 43 thanks for that

Seems to lost the thick Austrian Accent though

I think there is a slight hint of the LA drawl there

[24db]

above and beyond that I think some of Paul's comments will annoy Edgar...basically saying that TD were/are limited in what they could do...or to be fairer, were 'asked' to do

[JD]

above and beyond that I think some of Paul's comments will annoy Edgar...basically saying that TD were/are limited in what they could do...or to be fairer, were 'asked' to do

even if its true ?