Paul Banks Discusses Composing His Initial Film Score for Sister Midnight and His Lasting Passion for Film

      Since the release of Turn on the Bright Lights in the summer of 2002, Interpol’s frontman Paul Banks has been considered a pinnacle of coolness. He has explored various musical avenues—from solo albums to instrumental experiments, including collaborations with RZA—consistently pushing creative boundaries. He now adds another achievement to his portfolio as a film composer, making his OST debut with Sister Midnight, a film that premiered at the 2024 Cannes Directors’ Fortnight. Karan Kandhari’s debut feature, which opens in theaters this Friday, portrays Radhika Apte as Uma, a wife who discovers unconventional ways to assert her independence in the early days of an arranged marriage.

      In Devan Suber's review of the film, he commented, “Sister Midnight unfolds with a distinctively deadpan style in both its humor and performances. Kandhari prefers straightforward gags, such as a handshake referenced earlier, or a scene where Uma escapes the beach while trapped between two crying individuals. Apte navigates these moments with ease; when she’s not swearing, she’s either observing keenly or offering sarcastic remarks amid her more erratic behavior. (A snippet of overheard dialogue from another wedding hints that her marriage is more about convenience, describing her as a psycho and him as largely ineffectual.) Coupled with Kandhari’s meticulously crafted visuals—particularly in darker scenes—this results in a wonderfully entertaining experience, presenting a unique aspect of Indian cinema, even as one may start questioning its overall direction.”

      A passionate film enthusiast, Banks embraced the chance to create movie scores, and I was fortunate enough to discuss this with him over Zoom.

      The Film Stage: I recall an interview where you mentioned having a tattoo inspired by Master and Commander: The Far Side of the World. It seems safe to say that film significantly influences your life and interests?

      Paul Banks: [Laughs] Well, not directly from that film, but I do try to watch it regularly. Back in the days when I could frequent the beach more, pre-pandemic, I’d watch it about once a year near the ocean. Yes, I truly love that movie.

      Can you think of any films from your childhood that introduced you to new music or soundscapes?

      There’s one that comes to mind from my college years, but I'm struggling to recall one from even younger. Yeah, that’s a thought-provoking one. I think I need to jump to college and think of David Lynch and Twin Peaks. There was this woman who sadly passed away recently and created some tracks for his films.

      Oh, Julee Cruise?

      Yes, Julee Cruise. Along with Angelo Badalamenti. Another movie I frequently mention is Performance by Nicolas Roeg, which has incredible sound design and amazing music, including some unique Rolling Stones and Mick Jagger tracks. The director does fascinating things with sound, particularly during montages or tense flashbacks. There’s a sound effect reminiscent of a washing machine mixed with TV static. It’s a powerful utilization of sound to create mood. Nicolas Roeg had a tremendous talent for that sort of thing.

      I know you appreciate hip-hop, and it's interesting to note that many 90s film soundtracks—like Natural Born Killers—began sampling dialogue, similar to hip-hop music. Did you notice any connection between film soundtracks and hip-hop?

      It's intriguing because that's a soundtrack I owned and truly enjoyed. You're right. There’s a notable scene where Juliette Lewis is involved with a gas station worker, leading to an instance of sexist violence, and I remember the Bob Dylan song “You Belong to Me” from that soundtrack—it’s just astonishingly good. The inclusion of dialogue in that soundtrack is fascinating.

      I think a significant example is Abel Ferrara's King of New York, which has fantastic music usage. Around that era, New Jack City was another film that may not have been quite as highbrow as King of New York, but it was still great. It prominently featured early 90s hip-hop in its nightlife scenes. Also, Lawrence Fishburne deserves a shout-out for being one of cinema's greatest henchmen.

      When you created your instrumental mixtape Everybody on My Dick Like They Supposed to Be in 2013, was that preparation for composing film scores? It was your first purely instrumental project, correct?

      Yes, it came together after I had gotten sober and spent a lot of time at home, preparing to make my first solo album. I was teaching myself how to use Logic software, and as part of my exercises to create orchestral elements, I learned MIDI and Logic. Those experiments developed into music I enjoyed creating, which ended up being released as that mixtape. So I definitely view it as preparation, or practice, for crafting music suitable for film.

      Interestingly, that mixtape is filled with sample dialogue from films, which parallels a series of paintings I began in 2013. In