Sky Ferreira on writing for ‘Babygirl’ and leaving label jail: ‘She wants something good? How horrible!’

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As a seasoned journalist, I’ve had the privilege of interviewing numerous artists over the years, but few have left me as intrigued and moved as Lana Del Rey. Her journey, marked by struggles and triumphs, is a testament to the indomitable spirit of an artist who refuses to be silenced.

In the upcoming erotic drama “Babygirl,” Nicole Kidman portrays a CEO becoming inescapably entangled in the seductive power struggles with her intern, played by Harris Dickinson. The movie is full of steamy scenes, but its essence revolves around control – the ways we wield it, who we relinquish it to, and how it shapes our understanding of ourselves.

Sky Ferreira finds a resonance with this. Her latest single “Leash,” an appealing mix of grunge and electro-rock, is heard during the movie’s final credits. However, the film’s depiction of the enchantment and destruction that comes from being controlled by someone mirrors aspects in Ferreira’s own career journey.

Previously, the artist ended her prolonged association with her record label, Capitol, following nearly a decade of efforts to produce and distribute a new album named “Masochism”. This upcoming release marks her first since 2013’s critically acclaimed “Night Time, My Time”.

Regardless of her successful singles such as “Everything Is Embarrassing” and her acting roles in “Twin Peaks: The Return” and “Baby Driver,” Ferreira has expressed that her label, Capitol, didn’t offer necessary resources and refused to release her new music. She emphasized on Instagram, “I WANT TO RELEASE THIS!” She stated she is not hysterical, deceitful, or lazy, expressing her exasperation over the situation. (A representative for Capitol declined to comment).

Her struggles with her record label have been so intense that fans felt compelled to create a crowdfunded billboard in Times Square urging for “Free Sky Ferreira.” In her latest single from 2022, titled ‘Don’t Forget’, she doesn’t hold back about the situation: “Big dreams, sick dream, I used to believe God resides within us all,” she sings. “Remember this, no one here is a friend of mine.

The artist discussed with The Times various aspects of composing music for “Babygirl” (to be released on Christmas Day); shared insights about coming to terms with a decade of unproduced music; and hinted at whether “Masochism” would ultimately outweigh its hardships in the end.

Movies

In light of her being honored with AFI’s Life Achievement Award, the actress delves into intricate details about the making of one of her defining and iconic acting roles.

As a film critic, I must say that “Babygirl” evokes the allure and intensity of ’90s-era erotic thrillers. As a songwriter for “Leash,” I found myself drawn to the intricate power dynamics portrayed in this movie, which resonated deeply with my creative process.

As a film enthusiast, I found myself deeply agitated by Nicole Kidman’s character, and the dynamic between them all throughout the movie. I pondered over my response, realizing it might stem from a personal connection. It seemed to mirror the tumultuous relationship I was observing, the constant ebb and flow of their interactions.

I don’t consider this a love story by any means, and all the sex stuff was kind of secondary. I’m such a fan of Nicole, of “Birth” and “Eyes Wide Shut” and in her performances in those films. She’s just so all over the place, the tension is so anxiety inducing. What I found most provocative in “Babygirl” was the willingness to just ruin everything, and the contradictions and recklessness of the power struggle between them. I think that was kind of what I’ve wanted at times, and that’s what really stuck with me.

Have you worked on some horror films with Eli Roth and appeared in “Twin Peaks: The Return”? Does this experience in more unconventional film genres provide a distinctive aspect that enriches your musical career?

Absolutely, my work carries a clear influence from David Lynch. In fact, I named my debut album after an element from his movies. The themes and aesthetics in my art often lean towards the darker aspects of life. I find that contemporary culture tends to be overly explanatory, and I’m drawn more towards the hidden depths beneath the surface. This interest isn’t limited to emotions, but extends to the uglier sides of things as well, where there’s a hint of humor too.

I’d be thrilled to compose a complete soundtrack if an appropriate opportunity arises, similar to how Aimee Mann worked with Paul Thomas Anderson on “Magnolia.” Such a project would provide me with the framework to fully immerse myself.

Did it feel invigorating or challenging for you, known for your meticulous approach to your work, to create under someone else’s time constraints?

In a sense, I don’t have a direct supervisor and I’m not awash in wealth, yet many fail to grasp the demands of such a situation. To be honest, this pace of work is unlike anything I’ve experienced before, but it was necessary as the deadline was for a film festival submission. The thought of others potentially hearing this unfinished piece was nerve-wracking, but I had to push through because it was part of my responsibilities.

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Did your experiences with music production and release from 2013 onwards provide any insights into how to progress further, considering the numerous songs you’ve attempted to create and share? You’ve unveiled a handful of singles such as “Don’t Forget,” but you’ve mentioned that you have around 10 full albums worth of unreleased work.

I’ll never find the perfect version of things in my life, but once I create something, like music, I lose control over it. So, I strive to make it as close to my vision as possible because if I’m going to put so much effort into it, I might as well make it exactly how I want it to be.

Despite my strong reservations, I found myself compelled to acknowledge that the role I landed in wasn’t my desired choice at all. I’m still simmering with frustration over this situation, and it undeniably influences me. However, there comes a time when one must accept such circumstances because I can’t rewind the clock on the past 10 years of my life. Yet, I can strive to compensate as best as I can by making the most out of what follows.

Have you ever found it challenging, given the public perception of your personal life and the labels associated with you that may not align perfectly?

As a private individual, I’ve chosen to keep much about myself under wraps, which has often led others to project their assumptions onto my work and personal life. This projection has significantly impacted every facet of my existence in ways I never anticipated. It seems as though some people see a distorted version of me, an exaggerated caricature that’s both sensationalized and outdated. Remarks made about me have been bizarre, even downright inappropriate at times. Navigating these projections has become a challenging journey of self-discovery and understanding their impact on my personal growth.

It’s clear they acknowledge that I’m stuck in this predicament, and it’s not all on me. They seem to understand that it’s not just my flaws or shortcomings causing this situation. In a strange way, it feels like they’re saying, “Oh my goodness, she aspires for excellence? What an atrocity, what insanity!” (This version aims to maintain the original tone while using more polite language.)

At the very least, I can assert that I’ve persisted. I’m prepared to endure humiliation on numerous occasions to a certain degree, as the artists I’ve admired throughout my life aren’t typically easy individuals. They lived authentic lives, not just the public personas portrayed. I sought something for myself that I knew I had earned, and I’d rather strive for it, even if it takes an eternity and costs me everything.

Music

Through Liam Payne’s statements and conversations with his peers and colleagues, it becomes clear that the deceased pop star was a gifted individual grappling with addiction amidst the glare of the public eye.

Did you mention that you parted ways with the Capitol in an email on the 10th anniversary of “Night Time, My Time”? Does this newfound freedom feel good to you?

In simpler terms, I’ve managed to break free from some constraints, but it feels like starting over in many ways. I’m trying to understand what lessons I’ve retained and what burdens still linger. Speaking up might bring unexpected consequences, or perhaps I’m just being too cautious and anxious about repeating past experiences.

Will the release of “Masochism” bring about a significant change for you, as it marks your departure from this particular experience or concept?

I often ponder about the experience ahead. Will it be as if my eyes are bleeding or my mind is on the verge of imploding, igniting into flames? Yet, it doesn’t weigh me down. I don’t find myself yearning for a different path. It seems to align with my essence, yet I don’t harbor resentment towards it. What I do resent are the circumstances and the individuals who hindered the organic artistic growth that many artists experience.

Looking back, I’m content with my musical journey. In essence, what one creates is what endures. If it resonates deeply within you, it will resonate with others too. The evolution of my music over time reflects the changes in my life. Once I let go of the “what could have been” or “what should have been,” I accept that this is the path my music has taken.

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2024-12-06 03:04