Scott KirklandÂ discusses the stories that most affect him, the differences in process between scoring a film and making an album, and the moments that ground him. The Crystal Method may be comprised of only Scott Kirkland now, but his electronic music project is more dynamic than ever. Recently, Kirkland scored the documentary film Hired Gun: Out of the Shadows, Into the Spotlight, alongside his continued work on another forthcoming album. In Hired Gun, an elite group of A-list musicians share their behind-the scene stories of touring, revealing what it takes to play next to the world's most iconic musicians and create some of the world's best known songs. The film features heart-wrenching and hilarious stories about the music life as seen by musicians, alongside live footage of the artists recording and performing, with the action tied together by the The Crystal Method's score. ARTISTdirect's Christopher Friedmann caught up with Scott Kirkland to discuss the stories that most affect him, the differences in process between scoring a film and making an album, and the moments that ground him.
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Tool + The Crystal Method @ Rogers Arena - June 15th 2017[/caption] Christopher Friedmann: We're talking because you crafted the score for the recently released documentary Hired Gun: Out of the Shadows, Into the Spotlight. Now that it's out, how are you feeling? Are you still excited? Have you finally calmed down? Scott Kirkland: I'm very proud to be part of the project, for sure. I came in, as one does in the scoring, you come in very near the end. The edit's together, got everything in the can, you are just trying to piece together... They had so much footage, I was just talking to Fran the director, that the amount of content they had for this project was just ridiculous, they had so many interviews. I'm hoping they find a way to move forward because to tell the story in a way where you want to be able to spend some time with people, especially like Rudy Sarzo, and talk extensively to some of the other guys, like Liberty Devitto, you are going to have to leave some things on the cutting room floor. When I first saw it, as soon as that scene with Rudy Sarzo talking about Randy Rhoads came on, I sort of flashed back to being the 12-year-old heavy metal rocker kid that I was, reading in Kerrang! or Circus Magazine about Randy Rhoads' unfortunate death and then being a fan of Quiet Riot and Rudy Sarzo and having that 'Bang Your Head (Mental Health)â€� mask on my wall after I went to go see them in concert. Fast forward, I'm sitting at this, these movie makers are talking about people that I've grown up with, are wanting me to score the movie. It was really surreal. I thought it was a real great opportunity for me to continue to develop as an artist and I enjoy the world of scoring, so I'm super proud to be part of the project. I'm happy that people are finding it and appreciating it, and I'm just all in. CF: Creating music for a project like this must be very different from making your own sounds. Did you approach it in a different way and what's so different about the process of scoring? SK: I found it to be quite inspiring and liberating for me because sometimes as an artist who has put out albums, and hasÂ aÂ fanbase, and you're thinking about, not all the time about your fanbase, but you're just thinking... You know, you go in and you sit in front of a computer staring at an empty project, and maybe you're inspired by this, maybe you're inspired by that, but with scoring you have everything, as far as emotionally what's there - if it's an action scene you can find the right rhythm or propulsive energy to match it. This was interesting because it was a little more nuanced.