For the last couple of decades, Scott Walker’s unsettling, experimental and occasionally downright disturbing music has drawn on such diverse narrative sources as Elvis Presley’s stillborn twin brother, the films of Ingmar Bergman, and the public execution of Mussolini’s lover. For one track on his 2006 masterpiece
The Drift, his long-suffering percussionist was even made to pummel the side of a piece of pork to get just the disquieting, meaty thud that the composer could hear in his head.
D&C: Did you feel that the 2006 documentary 30th Century Man was an accurate portrayal of yourself? As a private individual, what made you agree to be the subject of a major film?
Scott Walker: I’ve never seen it. Couldn’t bear staring at my mug for that long. I agreed because Stephan Kijak is very persuasive, and I was impressed with his previous work. Also my management kept pestering and reminding me (as if I needed reminding) that I could die at any time, and only
a very few would have heard of me, or my work.