I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward. – Jim Coleman
I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth. – Jim Coleman
For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool. – Jim Coleman
But that’s something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn’t normally do left to my own devices. – Jim Coleman
With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood. – Jim Coleman
First, I’m trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations. – Jim Coleman
As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe. – Jim Coleman
I don’t think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it’s no longer a secret. – Jim Coleman
So, through playing with Cop I realized that there is a potentially interested audience out in the world. – Jim Coleman
In scoring, I usually start with a sound or group of sounds, searching out what feels right. – Jim Coleman
But things can happen in a band, or any type of collaboration, that would not otherwise happen. – Jim Coleman
I actually went to film school and was making experimental films for a short time, so it wasn’t such a leap. – Jim Coleman
But in my college years it got to the point where my friends and I didn’t do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that. – Jim Coleman
But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies. – Jim Coleman
I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life. – Jim Coleman
I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut. – Jim Coleman
When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven’t really seen any electronic music performed live in an interesting way. – Jim Coleman
