And then we started working together, big time after that. And then I said, 'okay Angelo – I want you to score this picture.' And I'd listen to Shostakovich in A minor all the time writing this, this has got to have this Russian American feel in this film, and he said 'okay' and off he went. And bless his heart, this guy could do anything! Another thing, Fred Caruso said, 'You're always writing these little things on scraps of paper, why don't you send something up to Angelo?' I said, 'Fred! Give me a break!' Anyway, one thing led to another and he wrote Mysteries of Love. MS: You wrote lyrics for him in Mysteries of Love in Blue Velvet, and I think I can tell that Angelo Badalmenti loved you, because he'd say in interviews, David Lynch gave me these lyrics and they didn't rhyme, they had no hooks, what am I supposed to do with this!ĭL: Angelo is in a way, old school – so I kind of confounded him, and he did like lyrics that rhymed and he did like form, but he could break that form easily if you force him. And if I didn't like that, I'd say something different and it would change! Because he can do anything, I could say things to him and he'd start playing that. Lyrics start saying something to Angelo's music brain and out comes this feeling from the lyrics. And I said, Angelo, we can cut this into the film just the way it is! It's fantastic!

And the next morning he worked with Isabella in the lobby of her hotel which had a piano that was there and came at lunchtime and played it for me at the Beaumont house in Blue Velvet. Angelo went by Andy Bedali in the early days, bless his heart – he sure didn't have to do that, but he did and Fred said, 'Andy will come up and make this right.' And I said, 'okay bring Angelo up'. This isn't working, let me call my friend Angelo' but he was calling him Andy then. We've got Fred Caruso to thank because he kept at me: 'David. We were working away, working away and nothing was happening. I wanted to get a local band, not a good band, just a local, hard-working band to back up Isabella Rossellini singing Blue Velvet. Matthew Sweet: You first met him on the set of Blue Velvet, can you describe how he struck you? Was it love at first sight?ĭL: In a way it was – Wilmington North Carolina was where we were. It's there in him but you've got to bring it out. The secret to Angelo is that if you know what you want, you've got to bring it out of him. He studied all the classical things, but he wrote jingles for a long time, so he can kind of do anything. Listen to the interview on BBC Radio Three's Sound of Cinema, which airs on 27 May at 3pm BST.ĭavid Lynch: Angelo, he can do anything, he can write any kind of music. 'Even in the so-called dark things, there's a beauty,' he tells Matthew Sweet. The composer died in December 2022, and Lynch has now given an interview to BBC Radio 3's Sound of Cinema. From the darkness of Mulholland Drive to the soaring sweep of Twin Peaks, Angelo Badalamenti created the soundscape that accompanies director David Lynch's vision.

Im blue lurics