We chat with Air music supervisor Andrea von Foerster (AvonFoerster), who was also responsible for the music behind 500 Days of Summer, Yellowstone and more, about going full-out '80s for Ben Affleck’s latest:
Air, Ben Affleck’s latest directorial effort, is a crowd-pleaser of a film that dramatizes Nike’s 1984 courtship of a young Michael Jordan, and the determination it took to land a history-making deal. Matt Damon, Ben Affleck, Jason Bateman, and Chris Tucker star as Nike executives, though Damon’s Sonny Vaccaro is shown to be the obsessive mind behind the operation.
It can change depending on the project, but you're always trying to fit the character or the storyline. I worked on 500 Days of Summer as well, where music was a character, and it was the same for this. I think they're very similar in a lot of ways. Really, the picture started dictating what we needed. Sometimes, something sounded like a great idea and then something else worked better, or, as much as people don't believe it, we did have a budget. Sometimes things were more expensive than we could allow for a certain spot, so we would go back and go, "Okay. What works narratively, but is also in our budget?" Andrew von Foerster: No. We ended up with 43 cues, two of which we play twice, so there are 45 drops in the film.
Was there a specific song that you were most excited to try to get, or that Ben Affleck was really insistent about getting? In the 80s, Top 40 pop was actually a very wide range of music, and it was the beginning of the rap/rock hybrid. We didn't define things the way we do now, with a sub-genre of a sub-genre of a sub-genre, and being so specific that you kind of alienate people. It was just like, "Hey, this is good and it's on the radio. Go listen to it."
Andrea von Foerster: It's rough. It's really rough. The show takes place before most recorded music. The 1890s are when things really started on wax cylinders, so I have to do all this research.
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