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\n\tProducer and musician Daniel Lopatin spent his early career traversing underground electronic and noise scenes as Oneohtrix Point Never<\/a>. As the years went on, his career teetered on the mainstream, opening for Nine Inch Nails on tour and collaborating with FKA Twigs<\/a> and the Weeknd<\/a>. But nothing has put him more in the public eye than his work scoring films, particularly with the Safdie brothers.<\/p>\n \n\t\u201cWe have similar inclinations artistically, but we\u2019re very different people,\u201d Lopatin says over Zoom from his Brooklyn apartment. He first worked with the pair on 2017\u2019s Good Time<\/a><\/em>, followed by 2019\u2019s Uncut Gems<\/a><\/em>. Now, his work on Josh Safdie<\/a>\u2019s buzzy ping pong blockbuster Marty Supreme<\/a><\/em> has gotten Lopatin shortlisted for an Oscar.<\/p>\n \n\t\u201cJosh is not unlike the characters that he draws up,\u201d the musician continues. \u201cHe\u2019s unrelenting, and his energy is just at 11 [out of 10] all the time.\u201d\u00a0<\/p>\n \n\tLopatin describes himself as \u201ca little bit more introverted and shy\u201d but finds that Safdie brings out of him \u201ca certain kind of energy. He likes the part of me that\u2019s more feral and more like \u2018Let\u2019s get the combustion going.\u2019\u201d<\/p>\n \n\tLopatin\u2019s work on the Marty Supreme<\/a><\/em> score is as kinetic, rhythmic, and glistening as the film and its big-dreaming antihero, Marty Mauser (Timoth\u00e9e Chalamet<\/a>). Though the movie is set in the Fifties, the music pulls heavily from the Eighties, both in Lopatin\u2019s original score and in the pop music cues, which feature needle drops from Tears for Fears, Alphaville, and Peter Gabriel. Lopatin hints that there was a time when the script followed Marty\u2019s life into the decade when those songs thrived, an abandoned ending that ended up still informing so much of how he and Safdie shaped the sound.<\/p>\n \n\t\u201cIt\u2019s like a labyrinth that Marty has to traverse to get to his future, his dream, his vision of himself,\u201d he says. \u201cThat\u2019s represented by this music that has yet to exist. It\u2019s not unlike Josh and I to think about the score as having this allegorical thing going on where you can use it to suggest things that aren\u2019t said, intuitions that the main characters in our films are having, or hunches about the universe.\u201d<\/p>\n