The Man Behind The Brutalist’s Disco Song Isn’t Sure Why It’s There Either

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If you’re trying to convince a friend to watch “The Brutalist,” let them know that the movie concludes with an amazing disco tune. The catchy 1978 track “One for You, One for Me” by La Bionda is used as a closing theme, and it’s only rivaled in unusual endings by “Lonely Planet” from The The, which ends the movie “Megalopolis.” This song was originally made for European dance floors and adds a humorous twist to the story of Adrien Brody’s character, László Tóth, a Holocaust survivor who immigrated to America and spent years trying to find his family in Hungary.

The song “One for You, One for Me” was conceived by Sicilian siblings Michelangelo and Carmelo La Bionda during a break from composing spaghetti western soundtracks in a German recording studio. This tune climbed to the top of the charts in Austria and has since been a regular on Italo-disco playlists globally. Interestingly, its appearance in The Brutalist caught Michelangelo off guard; he shares that he’ll be supporting the film’s Oscar nomination from Milan on Sunday, even though he hasn’t watched it yet. As he reminisces about La Bionda’s studio days, Michelangelo says they were simply creating music without any intention of delving too deeply into meaning.

https://youtube.com/watch?v=watch?v=FHTeuV2E1q8

It turns out that “One for You, One for Me” unexpectedly found its way into The Brutalist. I believe it was due to my son handling the licensing matters. A request to include the song came from the movie’s music supervisor, whose name I think is James Taylor. Despite sharing a name with one of my musical heroes, this James Taylor is not the musician himself, but someone else in the movie industry.

Have you caught the final version of the film yet? I haven’t, as it was just released in Italy last week. To truly appreciate it, I believe one should experience it on VistaVision at a theater equipped for such viewing. I plan to do so, as many who’ve seen it have raved about it, especially when the song plays at the end. They say people are even jumping and dancing in the cinema! So, my excitement levels are high to feel that same energy.

Are you able to speculate on why the song was chosen for the movie? The tune during the end credits seems significant and I’m trying to figure out its meaning. I haven’t had a chance to discuss this with Brady Corbet yet, so all I can offer is a possible interpretation – that sometimes there‘s a tragic ending followed by a fresh start. However, let me share an amusing anecdote. My first office in Milan was the Torre Velasca, a brutalist structure. Despite its rule-breaking design, it’s truly remarkable.

Isn’t it quite remarkable! There seem to be several instances of coincidence here. The melody we’re hearing is strikingly similar to a piece played by a versatile American musician, who happens to be both a pianist and the music conductor for the Golden Globes over the past two years. You might find this amusing: just as this movie has now won a Golden Globe award! And interestingly enough, the drummer on this song is Keith Forsey, a man who previously won an Oscar for Best Song for “What a Feeling” from Flashdance.

Could you share some insights about the method behind creating that song, as my brother and I have been crafting and producing music for a span of 55 years? Our studio has been graced by esteemed artists such as Depeche Mode (who recorded their ‘Violator’ album here), Robert Palmer (‘Heavy Nova’), and even the iconic Lady Gaga visited us briefly. We kick-started our journey in Munich, seeking a broader musical landscape, as Italy was rather limited in its music perspectives, favoring only Italian bel canto music. During the recording of our debut dance album under La Bionda, we were also penning film scores and collaborating with Sergio Corbucci on the initial ‘Django’ movie in Rome.

In essence, the music in our track primarily consists of bass and drum beats. However, the bassline is particularly significant as it’s what I found myself humming along to. It was quite remarkable. When I heard it, it seemed like the phrase “one for you, one for me” fit perfectly, even though the lyrics writer, Richard William Palmer-James from Supertramp, disagreed, saying it had no meaning. I replied, “I don’t mind if it doesn’t have a deeper significance.” After all, listeners don’t need to comprehend everything. He has a Bachelor’s degree in English Literature, but this song was more about connecting with the crowd. When the track plays, everyone around gets up and dances.

Have you observed or heard about the resurgence of Italo-disco music lately? This kind of music, which seems to be ever-present in clubs and on summer playlists, definitely gets people moving. However, it’s important to clarify that La Bionda didn’t originate the Italo-disco genre. The scene emerged after them. This song was actually a pop hit recorded in Munich using the same equipment and techniques used for other pop songs at the time.

In simpler terms, you could say “Indeed, this is a type of dance music often referred to as a ‘disco song’ back then. However, ‘Italo-disco’ was a subgenre that came later for better categorization in record stores.

As a film enthusiast, I’ve noticed a significant surge in viewings for our production “One for You, One for Me”, largely due to our latest release, “The Brutalist”. It’s no wonder, given our commitment to quality and global appeal. We’ve had our share of international success with another hit, “Vamos a la playa,” which we produced in Spanish. The universal language of music transcended borders, making it a massive hit single featuring two Italian singers. We aim to connect with audiences worldwide, not just those within Italy’s borders. After all, the cost of production is substantial; why limit ourselves?

What do you suppose your brother, who passed away in 2022, would think about everything that has happened to me lately? Given the joy and success I feel with my music being featured in this significant movie, I believe he would be incredibly proud and happy for me.

It’s quite possible that the weekend could get more exciting if my song gets featured in a movie that wins an Oscar. I’ll be raising a glass to Brady Corbet and Mona Fastvold, the talented duo who created this film where I was fortunate enough to have a small yet significant role. I express my gratitude to them, as well as to everyone involved, and I am thankful for it all.

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2025-02-26 19:54