When the late Michael Been of the Call was working on the soundtrack to the 1992 film “Light Sleeper,” his then-teenage son, Robert Levon Been, later of Black Rebel Motorcycle Club, would hide when…
“Everything was recorded in our house, DIY style, on analog, in the living room,” recalls Been, speaking from Vienna, Austria. “I was a snob and obnoxious and would say, ‘This is shit, this is good.’ I’d play a guitar or bass part and say, ‘Try this, try that.’ Sometimes my dad would use it. I was caught out a few times by [Schrader] who asked my dad if he was not paying him enough to bring in real musicians. But it stuck in his head enough where he might give me a call someday.
“The Card Counter” is Been’s first solo soundtrack . A combination of fully realized songs, score cues and sound design, Been’s soundtrack propels the narrative of the film whose main character, portrayed by Oscar Isaacs, is trying to emerge from the suffocation of his subconscious. Initially, Schrader tapped Been for the closing song — without giving him any context for the rest of the film. Been had a good understanding of Schrader’s technique of withholding from the audience so they are not led emotionally by the music until the very last moment. Furthermore, Been’s ideas for the ending scene piqued Schrader’s interest enough to ask him about his musical thoughts for other scenes in the film.
In sharp contrast to what Been does with BRMC, Schrader’s exact timing of not just moments in the film, but micro-movements of the characters tied to score or song or sound design, are Been’s worst nightmare. Schrader gave Been a lot of freedom in the sonic interpretation of the characters. Even so, Been wrote and rewrote pieces, coming up with multiple alternate versions, until they met Schrader’s objective.
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