A Man Full of Days
Enrico Rossini Cullen's poetic indie film A Man Full of Days (2014) is inspired by the Book of Job (minus the dogma) and the Leatherman, a famous 19th century vagrant. Full of hallucinatory beauty, nightmarish terror, eccentric creativity, and a surreal sense of the supernatural, and sprinkled with groundling humor, it is structured around unpredictable disjunctures and juxtapositions, and demanded a soundtrack that could reflect those many facets while tying them together. Brooklyn composer Steve Holtje's score mixes moody darktronica, classical majesty, and bittersweet, intimate piano pieces, even as his arrangements and production blur the lines between those styles. Brooklyn laptop artist Black Crystal Fuck Wolf also contributes two tracks. Though mostly known for his often abrasive style of drone-noise electronica, artisanally constructed through extreme manipulations of original sonic material warped beyond recognition, he also has an interest in asymmetrical rhythms looped repetitively to mimic beats, despite lacking standard metrical qualities. Bruce McKenzie aka Peckinpah's lyrical "Saudade No. 14" is a favorite of director Enrico Rossini Cullen. The climactic scene of the film is an homage to the great 1930 Soviet film Zemlya (Earth), and uses Levko Revutsky and Vyacheslav Ovchinnikov's score from the scene it is based on. Steve Holtje: piano, organ, electronics. Women of the New Amsterdam Singers Chamber Chorus: vocals on "Job 34:15-16." Black Crystal Fuck Wolf: sample manipulation and asymmetrical beats on "Man Dance 1" and "Mercury BBQ Pit." Bruce McKenzie: piano and electronics on "Saudade No. 14."