Joe Boyd: evaluation

Transcript context

…Did he ask you to do the right things? Well, sure. The music to that film is one of the great strengths of the film. He would call me up and say, “I need the Kurt Wangler recording from 1956 on Deutsche Grammophon of the Beethoven symphony number whatever.” I called Deutsche Grammophon and licensed it. The funniest thing was Walter Carlos — just at the time that he was recording the soundtrack, the electronic Beethoven, he was transitioning to being Wendy Carlos. Still is Walter — I think the credit is Walter. He did that great electronic version of Beethoven’s 9th. That one, the record company was excited to release a single, but Stanley insisted on approving the edit because we had to get it down to four minutes or four-and-a-half minutes. I tried to play it to him over the phone, and every time I played it to him over the phone, the phone would cut off. It turned out that one of Walter Carlos’s chords was exactly the same as this international digital signal for disconnect. In the middle of each time I played it to him — we had to send a messenger to London to play it to Stanley so he could approve it. What was Kubrick like?…

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