His electronica, a blend of past and future, gives ‘Marty Supreme’ its swagger

by

Daniel Lopatin, who creates music and scores films as Oneohtrix Point Never, has a story about how he got his start, and he finds remembering it all a bit funny.

The story is set in the suburbs of Boston around the mid-1980s. His father, a Russian-Jewish immigrant working various jobs like performing at supper clubs, was trying to afford a synthesizer. A friend who was a drummer helped him find a good deal on a Roland Juno-60 – the very same model used to create the sound in a-ha’s upbeat hit, “Take on Me.”

Lopatin’s father was more practical. He rigged up a strap using belts to carry the keyboard, and when it wasn’t being used for performances, he stored it in its original box in the basement.

So, Lopatin – he’s 43, and we were chatting over Zoom from the legendary Electric Lady Studios in Greenwich Village – explained he used it for what you’d expect: little Russian folk tunes, the sound of accordions, organs… that whole vibe.

I was completely captivated by it. It seemed like a fascinating gadget with all its lights and levers. Later, I discovered I could actually create unique sounds with it, which was even more exciting.

Over the past two decades, Lopatin has built a celebrated career crafting unique electronic music, starting with self-released cassettes and CDs and later including work with the influential Warp Records. He’s collaborated with major artists like The Weeknd, Iggy Pop, and David Byrne, all while maintaining his distinctive style. His bubbly synth sounds have been linked to several underground genres – including hypnagogic pop and vaporwave – and he’s even pioneered his own, such as his slowed-down, repetitive style called “eccojams.” Thankfully, he hasn’t strayed too far from his original, energetic approach.

One new direction for composer Lopatin has been scoring films, especially those directed by Josh and Benny Safdie. He created the energetic, upbeat music for their intense crime thrillers, “Good Time” and “Uncut Gems.” His latest work, for Josh Safdie’s new film “Marty Supreme” (released December 25th), is a significant step forward. The music is bold and vibrant, almost becoming a character itself, rivaling Timothée Chalamet’s performance as a ping-pong player for the audience’s attention.

Safdie, 41, explains in a video call that Lopatin’s albums felt like soundtracks to movies that hadn’t been made. He adds that Lopatin’s work fundamentally changed how he thought about film scoring, because the music felt meaningful and conveyed deeper ideas.

Lopatin’s music is deeply rooted in nostalgia – a fondness for the warm, fuzzy sounds of vintage electronics, like bubbling synths, shimmering chimes, and long, sustained tones. Growing up as someone between Millennial and Generation X, he was influenced by his sister’s love of Duran Duran and his father’s jazz fusion tapes. He came of age in an era defined by innovative synthesizer artists, including Jan Hammer’s work on ‘Miami Vice,’ and the Oscar-winning scores of Vangelis and Giorgio Moroder.

Lopatin quickly steers the conversation toward more complex ideas, bringing up the concept of “hauntology” – a term coined by Jacques Derrida – and how discarded cultural elements can be transformed into something valuable.

He believes there’s a long history of finding beauty in discarded or unattractive items and giving them new life. It’s about paying attention to everything around you – even things designed to be temporary and disposable – and finding value in the overlooked. He’s always been captivated by this idea of transforming the unwanted into something worthwhile.

For “Marty Supreme,” which takes place in the early 1950s, the soundtrack features unexpected electronic sounds – driving rhythms, shimmering harps, and manipulated vocal harmonies. It’s heavily inspired by Lopatin’s work on “Chariots of Fire.” Certain parts feel like they could be the powerful finale to a “Rocky” film – the composer even aimed for a similar feel, but then scaled it back. Other moments evoke the gentle, evocative atmosphere of a fantasy movie soundtrack like the one for “Risky Business,” reminiscent of Tangerine Dream.

For Safdie, filmmaking means connecting with raw emotion alongside his composer, trying to fully experience those feelings. He offers an example of how he does this.

He describes the music as intoxicating and otherworldly, like embarking on a journey to a beautiful, vibrant new world – a spaceship trip to a place full of life. That’s the core of what they aim for, and Dan, he explains, is incredibly skilled at translating those emotions into captivating melodies – a true ‘melody master.’

Lopatin didn’t immediately realize this. He originally thought about going to film school the conventional way.

Looking back, I really had my heart set on NYU’s Tisch School of the Arts – I wanted to be a screenwriter. I was making these really rough, low-budget little films, editing them the old-fashioned way with two VCRs. Honestly, I’m not sure how good I even was at filmmaking. I probably should have focused on music from the beginning, but I was just… restless, you know? I needed something different.

Studying archival science at Pratt Institute gave him direction and sparked his fascination with the vast world of recorded sound and how to organize it. Interestingly, he’s the musical director who led The Weeknd’s Super Bowl halftime show in 2021, despite initially dreaming of a career as a librarian.

When Lopatin was reading the “Marty Supreme” script on a flight to Los Angeles in 2023, he and the Safdie brothers were communicating through quick, emoji-filled texts – a style they’d developed from years of being close friends. “I had to pay ten dollars for the plane’s Wi-Fi,” he jokes. “I told him the movie was about beginnings – the birth of ideas, the start of a scheme, but also a ‘racket’ in the sense of a hustle – two different meanings of the same word.”

Lopatin believes this playful exploration is crucial to his work. He explains, “It’s about finding the emotional core of a film and expressing it through music, almost like a poetic conversation. I can’t begin composing until I truly understand that essence. Every musical choice needs to reflect the film’s spirit—without that connection, the score just won’t work.”

The film’s music was heavily influenced by a massive Spotify playlist that director Safdie had been building for years. According to composer Lopatin, the playlist – reportedly called “Score Supreme” – contained a huge range of music, and Safdie seemed to be discovering connections as he went. It included artists like New Order, Tears for Fears, and Peter Gabriel, alongside classic rock from Fats Domino and even New Age artists like Constance Demby.

Lopatin explains the project’s appeal comes from playing with the idea that time isn’t fixed, but rather flexible and changeable. He adds that they didn’t fully realize the music was so dynamic and evolving until they were well into the process, discovering it had a life of its own and was constantly unfolding.

According to Safdie, crafting the film’s score was a remarkably intense, ten-week process of daily work, especially considering his other commitments and young family. He specifically rented a small studio in Manhattan so he and the composer could fully immerse themselves, using inspirational posters and experimenting with sounds for hours. It wasn’t a relaxing getaway, but rather a focused effort to create the film’s unique soundscape.

Lopatin describes Josh as someone deeply involved in every part of the filmmaking process, particularly the music. He considers creating the score a deeply meaningful, almost spiritual experience. It was a crucial time for Josh as they finalized the film, and Lopatin didn’t want to take that away from him. Lopatin himself was working from a small editing room in midtown while staying with his girlfriend, and during this time, Josh’s wife, Sarah, gave birth to their child.

They’ve been using this method since their early days with “Good Time,” when they worked in a rundown factory loft – one that unfortunately burned down. It was a rough space, filled with rats and lacking windows. The director recalls someone possibly recording their sessions from outside, as the loft had no insulation and the environment was very intense.

Movies

Whether you’re interested in potential Oscar winners like “Marty Supreme,” featuring Timothée Chalamet, or a fresh take on “Anaconda,” the last few weeks of 2025 promise a variety of exciting entertainment options.

They were experimenting with different sound combinations, carefully reviewing countless audio clips, adjusting specific tones, and assembling rough music snippets, all while repeatedly listening to the results. Safdie had to convince Lopatin, so he wrote him a letter.

Safdie recalls writing a lengthy letter, primarily as a way to spend time with his close friend. He explains they often get lost in hours-long conversations, reminiscing about shared experiences from their youth – like old crushes – which then sparks creative ideas. He feels fortunate to have this kind of relationship and the opportunities it brings.

Lopatin remembers the experience vividly.

He explained that they felt constantly watched, saying, “People were always walking by, looking in at us.” They’d covered the walls of their small workspace with huge black-and-white photos of people who’d inspired the film’s characters – images of life in traditional Jewish towns, street hustlers, and others – while they worked on the project.

Honestly, when Josh first approached me with the idea, I was hesitant. We’d worked so hard, and I wondered if we deserved a bit of a break! But then I remembered what this project was – a big, important film for A24 in December, and Timothée Chalamet was starring. That definitely changed my perspective.

Lopatin recalls someone saying, ‘No, we’ve never really deserved success,’ and chuckles. ‘We always have to start completely from scratch.’ Once they had a finished track they were happy with, they treated themselves to mixing it at the famous Electric Lady Studios. But until then, it felt like they had nothing. He emphasizes that Josh has taught him the importance of working under pressure, believing it’s essential to their creative process.

The composer is starting to prefer collaboration over working alone in the studio. He suggests he’s found more fulfillment in experiencing and appreciating the creativity of others. “Being surprised and inspired by someone else’s perspective brings me a deeper sense of happiness and wholeness right now,” he explains. “It feels like a more exciting path for me at this point in my life.”

He’s excited about the next film and when he’s prepared, his father’s Juno-60 synthesizer will be there for him.

Read More

2025-12-08 16:32