![]() Martinez’s challenge was unearthing enough ideas to fill the ten hours of screentime. Soderbergh knew immediately what he wanted from Martinez, handing him a temp track comprised of cues from his own work on Spring Breakers, Contagion, and Only God Forgives. In 1900, John Thackery (Clive Owen) and his staff were on the cusp of innovation, living the future. There was no threshold to going too modern. Laying electronic music over Soderbergh’s period medical drama never raised an eyebrow. Martinez walked us through some of his more memorable scores. Since then, he’s worked across genres with directors including Nicolas Winding Refn and Harmony Korine. When they teamed up for 1989’s Sex, Lies, and Videotape, Soderbergh was a first-time director and Martinez the former drummer for the Red Hot Chili Peppers with a single composing credit to his name (an episode of Pee-Wee’s Playhouse). The Knick marks Martinez’s 35th score and 11th collaboration with director Steven Soderbergh. “A lot of my interesting scores,” says Martinez of his process, “are the result of me trying to imitate someone else and failing to do so in an interesting way.” Directors come to him with “temp scores,” sourced cues from other movies that reflect the musical ideas they’re chasing, and he synthesizes them through his own set of plug-ins. Just as a synth can translate and distort a musical concept into an unrecognizable sound, so does Martinez to 100 years of film music. For the composer of the minimalist score on The Knick, which ends its first season Friday night, instruments requiring wires and keystrokes are both a tool and a philosophy.
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