“Sometimes we would even get together and make stuff up on the piano, and before you know it that leads to the idea for a scene or a character.” “I sit with Angelo and talk to him about a scene, and he begins to play those words on the piano,” Lynch said. In 2005, Lynch spoke with the Times’ Brian Wise about his and Badalamenti’s creative process. His role quickly expanded when Lynch asked him to write a song, the composer came back with “ Mysteries of Love.” ( Julee Cruise, who died earlier this year, was the vocalist.) Lynch decided to put the entire Blue Velvet score in Badalamenti’s hands, beginning a fruitful collaboration between the two artists. Lynch was working on Blue Velvet (1986), and he called in Badalamenti as a vocal coach for his leading lady, Isabella Rossellini. His first job in film was scoring Gordon’s War in 1973. The next year, he scored the crime drama Law and Disorder, then focused on other projects for a decade before getting a call from Lynch. Some of his earliest songs include “ I Hold No Grudge” (1965), which Nina Simone recorded, and “ Face It, Girl, It’s Over” (1968), performed by Nancy Wilson. After briefly working as a seventh-grade teacher, Badalamenti was hired at a Manhattan music publisher. The young musician earned his bachelor’s and master’s degrees at the Manhattan School of Music, graduating in 1960. He began playing piano at age 8, according to the New York Times’ Anita Gates, and later “came to appreciate the piano when girls admired his playing.” “For the condemned characters of Twin Peaks, the music is not merely a decorative hood,” Beaumont-Thomas wrote, “it’s the scaffold from which they’re hanged.”īorn in Brooklyn in 1937, Badalamenti was a second-generation Italian-American. In 2010, the Guardian music editor Ben Beaumont-Thomas hailed Badalamenti’s Twin Peaks score, which also includes the haunting “ Laura Palmer’s Theme,” as “the summit of TV soundtracks.”
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