![]() ![]() Renoly Santiago, Actor, The Phantom Phreak: That music was just part of my everyday life. It was the young years of this exciting wave of electronic music, which created what we have now. Rob Birch, Stereo MC's: At the time it was rebel music. The music supervisor, Bob Last, was looking out for bands that had more profile, hence Prodigy and Massive Attack. ![]() I was listening quite broadly, but she would help out by suggesting tracks. My assistant for the film, Gala Wright, was a sort of creative collaborator. That was the first inspiration for me to write about music and I was really happy for Hackers to be a way of carrying that on. And then when I went to work in television in Manchester and Liverpool, I would see bands all the time, whether it was New Order or various blues bands or reggae. Growing up in London, music was everywhere. Ian Softley, Director: I grew up being absorbed in music as much as I was with film. To honor the cult favorite film’s invigorating exploration of a musical movement on Hackers’ 25th anniversary, the film’s director, composer, actors, costume designer and several contributing musicians reflect on the soundtrack’s emergence from a new wave of club music, the film’s prescient themes, and the feeling of community within and resulting from Hackers. That changes, though, with an upcoming Record Store Day release, a double-vinyl set in support of the film’s anniversary. However, some of Boswell’s compositions and other songs used in the film remained unreleased-including a surprise appearance by Pink Floyd guitarist David Gilmour. ![]() The music was so beloved that the film spawned three soundtrack releases, two of which included tracks inspired by the film. and Europe and introduced it to outsiders in the U.S. The film harnessed a burgeoning scene taking over the U.K. Furious typing is matched with twisted synths, and breaking through firewalls is scored by opening up the ambient heavens a la the Math Lady meme.ĭirector Iain Softley and composer Simon Boswell’s conjurative imagination of what the present was and what the future could be fused invention and innovation, psychedelia, trip-hop, and electronics into a hallucinatory heroes’ journey. At the dawn of the internet as we know it, that meant visualizing the inside of a computer as buildings fading into circuit boards. Hackers follows a crew of high schoolers led by a very young Angelina Jolie and Johnny Lee Miller (under the codenames Crash Override and Acid Burn) fighting against The Plague, a hacker turned corporate tech security expert framing the kids for his own malicious schemes. From The Prodigy’s "Voodoo People" scoring a first meeting to Massive Attack’s "Protection" soothing a romantic scene: the Hackers soundtrack was a rapturous primitive trip for outsiders who were insiders. The synergy of hackers and a new wave of electronic musicians came together powerfully, pushing into new, undiscovered territory, and sharing in the discovery as a community. Much like the hackers’ experience of breaking through societal barriers, the film’s music winds its way through a bramble of wires before reaching techno-nirvana. It’s a time when the four most predictable passwords were "Love, Secret, Sex and God." But truly unprecedented was Hackers' mercurial soundtrack and score, a beguiling coalescence that mirrored the face and sound of an era. It’s a world where payphones are essential technology, floppy disks play into high espionage and Marc Anthony is a secret service agent. Twenty-five years after the release of Hackers, two things outlived the time of crushed cans of Jolt cola, skateboarding megavillains, and Matthew Lillard's braided pigtails: the vibrant community of electronic music and rebellion against those attempting to shut down information. ![]()
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