Trent Reznor and Atticus Ross turned to movie soundtracks partly out of frustration with the music industry, the Nine Inch Nails artists said this week.

Reznor and Ross, originally known for their 1980s rock band, are also the artists behind iconic film soundtracks for films such as: The Social Network, Gone Girl, Bird Box, Mank, The Girl with the Dragon Tattoo and Soul among other things. “What we’re looking for (from film) is the shared experience with interesting people,” Reznor said IndieWire. “We didn’t necessarily get that from the music world, but rather from our own decisions.”

Reznor went on to say that he and his partner were disillusioned with the music world. “The culture of the music world sucks,” he said. “That’s a different discussion, but what technology has done to revolutionize the music business, not just in the way people listen to music but also in the value they place on it, is devastating. I don’t say this as an old man screaming at the clouds, but as a music lover who grew up where music was the main thing. Music (now) feels largely limited to something that happens in the background or while you’re doing something else. It’s a long, bitter story.”

The musician added that their success in scoring films is partly due to “working in service to something where we don’t have control of the whole thing and working closely with a director or a small team to help . “Achieve a shared vision and solve this puzzle without having to ask yourself, ‘How should it be marketed?’ and all that stuff.”

Reznor and Ross are best known for their collaborations with director Luca Guadagnino, most notably on the thriller “Timothée Chalamet.” bones and everything, this year’s tennis phenomenon led by Zendaya challenger And the recently released Daniel Craig period romantic drama Strange (They will also score Guadagnino’s next film, the contemporary thriller After the hunt).

“Luca is not a micromanager,” Ross said. “All films are radically different. Back to Bones and everythingI think an acoustic guitar was the extent of his influence on the score (Paris, Texas And Brokeback Mountain were also on the vision board). With challengerWhen he mentioned dance music, the question that came up with every film was, “What’s the best way to tell the story?” Looking back, there’s no doubt in my mind that it’s the best way to tell the story challenger was the vessel of dance music. It just brought the film to life in a way that felt – I guess you could use the word “visionary” for Luca. He has a holistic vision of what his films mean and his commitment knows no end.”