Director Jonathan Glazer and scorer Mica Levi on their unsettling alien art film.After building a reputation for retina-rattling music videos including While the behind-the-scenes struggles aren't easily sensed while taking in "Mica is very insightful and intuitive," Glazer gushes. I actually prefer films that don’t have any music in them.

Ideas of strip-club shit made sense to me, in terms of thinking about sexiness and perversion—so slowing things down and speeding them up seemed right.Jonathan Glazer: The sounds featured in the music are indistinguishable from one another—it's hard to tell where one sound ends and another one begins. I still haven't sat down and listened to the score separately from the film, but I'm very much looking forward to doing that.ML: The music featured in the beginning of the film is complex and slightly sophisticated; it’s supposed to feel like a life form you can’t quite understand, but it's carrying on relentlessly, like a beehive. In the void where she drags the men down into, she seduces them over this music that’s kind of fake-sounding, almost like she's putting on makeup—it gets sadder, it runs out, it loses it steam, it gets darker, and then it comes back and hits her.

"I like the way that it perverts your comfort and your reality," Levi says of the sound-manipulation process she's relied on since her and the Shapes' auspicious debut, 2009's Matthew Herbert-produced Mica Levi: It felt to me like she was a detective, like she was figuring something out. Still, she and Glazer took to each other quickly as creative partners: "His obsession was striking to me.

"Keeping in line with the film's tendency to embrace the vague and unknowable, Levi's work on "The approach that [Glazer] took to making the film meant that everyone was throwing things at it, and the film was either chewing it up or spitting it out," Levi says. She’s on the hunt. It becomes about embracing the real sounds of the world: rain, wind, and everything else that she’s starting to experience.ML: I can't say I’m a film connoisseur, but I’m getting much more into it. "Levi joined the project in April of 2012, after Glazer's music supervisor Peter Raeburn played his director part of Micachu and the Shapes' 2011 live LP with the London Sinfonietta, "I didn't expect anything from it, really," Levi sheepishly says of the opportunity to work on the film.

"Honestly, when it was finished, it felt like it was only because somebody in charge said that it had to be.

All those bendy and stretched notes just felt correct. "We had a lot of discussions about what sounds might work and what wouldn’t, and when we heard the ones that sounded right, they became the language for the film. Experiencing emotions, for her, are rushes of strong feelings that freak her out and start to make her feel like a human, and that develops into another musical theme.JG: As the film moves along, there's more silence because there's fewer narrative reasons for using music.

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