I don't know how I found the time but I actually wrote a story...sorta.
The following is an excerpt of my Q&A with David Wingo of Ola Podrida. Read the full story on The Deli Austin.
What’s the difference between writing music for film versus writing music for Ola Podrida? Obviously, it seems like you have less freedom doing soundtrack work because of the script, but in terms of the creative process, is it the same?
I try to make the core of it the same. It reminds me of doing art projects as a little kid in school. You’re given supplies and tools and you’ve got to make something. It’s a totally different process but still gratifying in its own way. You’ve got to take a few tools to make something that can make a wide array of emotions pop. However, I do think that it has helped me with my own stuff because I’ve learned to have a single-minded focus and to not use the blank canvas to my advantage. I have parameters now. I’ve learned to gauge what the song needs. It’s helped to maintain the “less is more” aesthetic for sure.
If Belly of the Lion was a movie, what would it be about?
I think this album would be about a weird, oppressed teenage kid in the suburbs doing what he can to have a bit of freedom in the claustrophobia while trying to meet girls and doing some drinking in the process.
