![]() Reilly (Chloë Sevigny) begins questioning the ethics of such a diabolical experiment. Phillips (Peter Stormare) attempts to manipulate the study to get the answers he wants, the newest member of his team, military psychologist Ms. At first, the participants all assume that the subject who gives the most obviously incorrect answer will be removed from the experiment, though it doesn't take long for the group to realize that the correct answer isn't always the answer that the researchers are looking for. As the study gets underway, the group is presented with a series of questions, and given a finite window of time in which each individual member must submit a unique numerical answer. The allure of a little extra cash proving too powerful to resist, four strangers decide to partake in a paid research study. Great as it is, he should at least have given us a credit for the idea.Four volunteers sign up for what initially appears to be a typical paid research study, only to discover that they've unwittingly become involved with a classified government program that was said to have been terminated nearly two decades ago, in this tense psychological thriller from director Jonathan Liebesman (Darkness Falls, Texas Chainsaw Massacre: The Beginning). Cheeky bastard! He gave us this pittance one-off fee for the use of the song, saying it was just a little indie film, but forgot to mention that Drew Barrymore was behind it, who had more money than Howard Hughes. “I’d mentioned somewhere that The Killing Moon was about pre-destiny,” says Ian McCulloch, “and he wrote the whole fuckin’ film about it. And a mysterious presence in a crazy rabbit suit – a mad bunnyman, in effect – was one of the film’s key characters. ![]() It’s got real power.”Īs well as being covered by Pavement and Grant Lee-Phillips, The Killing Moon was on the soundtrack of Richard Kelly’s surreal 2001 flick Donnie Darko. That song is actually the answer to the big question. This shows that there is a very small chance that our winner will make it through the experiment alive, b/c there may be 100 phases. You can slice that lyric up wherever you like, but it’s as profound as ‘To be or not to be…’ It’s almost like a soliloquy delivered by a priest. When the movie leaves just one person alive the audience feels, 'ahhh, phew, at least someone is going to make it out' only to find out that this was just phase 1, and 'the winner' will now be taken to phase 2. I think it took me 25 years to realise that not only was it about pre- destiny, it was about everything. “One of the great things about the song is that it still surprises me when I sing it live. “I would have loved Sinatra to have had a go at The Killing Moon,” McCulloch confesses. Their biggest seller to date, it’s often cited as the Bunnymen’s masterwork. Three months later came parent album Ocean Rain, a sumptuous record whose dark metaphors were given grand scale by a 35-piece string section. It’s total artistry and the ability to know exactly what’s right for that song.” The Killing Moon rose into the UK Top 10 and stayed in the chart for six weeks. ![]() “I knew that it was the greatest song already,” McCulloch marvels, “but Will’s outro guitar is unbelievable. Not only is McCulloch on killer form on the track, but Sergeant is inspired too, conjuring up an atmospheric middle eight and one of the most expressively beautiful codas you’ll ever hear. Suddenly interested again, McCulloch now gave it his full attention. De Freitas adapted his usual hard-thumping style into a softer canter, using brushes. The pair booked an all-night session at Amazon Studios in Kirkby. ![]() It’s ruined.’”īack home, it was drummer Pete de Freitas who finally convinced McCulloch to revisit The Killing Moon. The others suggested I re-sing it when we got back to Liverpool, but I said: ‘I’m not doing it. So I came back a little freer about what I had to say. I was thinking that when we got back we should maybe try a Velvets tom-tom thing, do a Mo Tucker on it. Four volunteers sign up for what initially appears to be a typical paid research study, only to discover that theyve unwittingly become involved with a classified government program that was said to have been terminated nearly two decades ago. “It was all going wrong so I went to the boozer with Adam Peters. “David Lord was a load of crap and a tosser, the most unaptly named bastard you could meet,” says McCulloch. The tune itself just wasn’t coming together. I spent the next 20-odd years trying to remember how I did it.” Then we went out for a curry and when we came back, producer David Lord had looped it up and punched it back in. “It was just something I did when we were tuning up. The distinctive, vaguely Spanish-sounding guitar intro on The Killing Moon was a happy accident, Sergeant reveals.
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