

Like Egoyan before them, Lee and Nair also explored cultural divides, often mining – or at least recognizing – the gaps between East and West. I travelled around Asia for a couple of months to record all the strangest and most interesting things I could.”ĭanna’s work on “Exotica,” with its mix of folk chants, world beats and vaguely sinister synth, opened new doors for the composer, who soon added filmmakers Mira Nair and Ang Lee to his stable of collaborators. I literally took my entire fee and got on a plane with a digital tape recorder. “Our concept for was to take this music from other cultures and bring it into this world of exoticism and projection. “Atom is a conceptual filmmaker, and he taught me to be a conceptual composer,” Danna says.
#Gamelans come from which country full#
Starting with 1987’s “Family Viewing,” evolving through follow-up features “Speaking Parts” and “The Adjuster,” and taking full shape with 1994’s international breakout “Exotica,” Egoyan and Danna’s collaborations shepherded the composer toward his signature style. Having fun, because we weren’t getting paid much and only 100 people would ever see the films.” “ this sandbox where you could play around, and do whatever you want. There was a sense of fun and a lack of pressure because our commercial aspirations were so low,” he says. “We were making something new, having fun and experimenting, and that was really a big part of making music and art of any kind in Toronto at that time. “I learned everything by myself seated with a video tape, stopping and starting with my pause button and my sequencer.” “I had no formal instruction, no mentor and I didn’t know anybody who was scoring film,” he continues. “The idea was to create a different kind of Canadian cinema, which was obviously on a very different budget, with very different dramatic and commercial aspirations, so these things made it really perfect for someone who had no preparation in film music,” Danna says. The filmmaker was Atom Egoyan, who encouraged Danna to embrace his novice background as a creative tool when learning the craft. And in those five minutes, we established what we would be doing for the next 30 years.” I met with the guy, we had a great conversation, and just. “My friend told me about another guy from campus who wanted to make a film and was looking for a composer,” Danna says. Sitting in the sound booth one afternoon, and idly chatting with the neighboring lighting technician, Danna stumbled onto a new path. He’d also score plays on campus, mostly for kicks.

It was the mid-1980s and Danna was a student of electronic music at the University of Toronto, paying his way through college by playing organ in local churches and by composing ambient pieces for the nearby planetarium.

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