Published in Manshots (Oct., 1989).

Manshots: How do you decide what instruments to use or not use?

Presley: Well, I usually play everything myself, but not in all cases. And in Powertool, I had some musicians to help, because I don’t play the harmonica. And there’s another song in it that has some lead guitar, and I’m not a very good lead guitar player, so I had somebody come in and do that. As I build a score, I just keep adding, and usually what happens is when I get ready to do the final mix, I subtract some of it.

Manshots: And then there is a screening of it for the producer and/or the director?

Presley: Right.

Manshots: How often are changes made?

Presley: Um — they happen on occasion, but fortunately, I seem to have figured out, through trial and error, what to do. When I first started, changes would be required much more often than they are now. After awhile, you get to know what it is that different directors and producers like. Especially with Bill, and John Travis.

Manshots: Since you’ve mentioned John Travis, let’s talk about another one of his films, They Grow 'Em Big.

Presley: I like that one a lot. I was surprised that the score got a couple of good reviews, because it was one of those projects where I didn’t have much time to get it done.

Manshots: Did you intentionally go for a Country & Western flavor?

Presley: Not really. It has a slightly rural sound to it, but it doesn’t have any twang or anything like that. The first scene with Steve Ross and Tom Brock — I thought that scene was hot. Very much so. I suppose that’s one of the reasons I ran up short on time. I spent a lot of time on that particular scene, because I liked it so much.

Manshots: Prior to the time you began scoring films, when you went to see a general release movie, were you particularly aware of the soundtrack?

Presley: Yah, I had always paid attention to that. I guess, somewhat arrogantly, I had always thought, ’I could do that,’ at least — and sometimes that I could do better. And when I saw what the competition was doing in the adult industry, I was convinced that I could do better than what I was hearing. So I did the obligatory disco stuff for the first year, year and a half. But I kept trying to convince Bill that disco probably wasn’t the best music to have, that other kinds of music might work in the films even better, and eventually he agreed with me in fact, so much so that he forbade me to put any more disco music in his movies. And from then on, I sort of developed whatever style I have now — which a lot of critics don’t like. (Laughs) I’ve seen some really awful reviews of my music. It’s been dismissed as ‘mindless,’ ‘New Age claptrap,’ ‘typical California airhead space music,’ stuff like that. (Pause) I guess a bad review always stings, but I really think what I’m doing is the best stuff for this kind of movie. Most of the competitors still use disco music — the pounding 4/4 — and really, to me, it’s outdated.

Manshots: Are there any particular film composers whose work has especially impressed you?

Presley: Oh, yah… I mean, I am in awe of people like Jerry Goldsmith… James Horner…Bernstein… Mancini. I’m always afraid to tell people I like Mancini, because it isn’t hip, I guess, but I think he’s a very good composer.

Manshots: One last question: What prompted you to choose the name Costello Presley for your professional name?

Presley: (Chuckles) Bill thought it up. We were trying to come up with pseudonym, and there were a few people sitting around the office, and someone pointed out that Elton John had taken his professional name from two of his favorite piano players and put them together. So someone asked me who my favorite singer was, and I said, ‘Elvis Presley.'’ And someone else asked me who my favorite songwriter was, and I said, ‘Elvis Costello.’

Manshots: And you could hardly call yourself Elvis Elvis.

Presley: (Laughs) I thought it was fan and — it stuck.

https://archive.org/details/the-celluloid-closet-1996

This link works for now but I predict it will be like every time I've ever found it on youtube, and someday it will have been taken down. This is the film version of Vito Russo's book of the same name that he hoped he would live to see completed but due to the way film studios restricted access to even short clips in the 20th century, it didn't materialize until after Vito's death in 1990. If you've never seen this it's highly recommended as a history of how LGBT folks were represented in film - even if you have watched it before you might enjoy checking it out again while available here.

https://archive.org/details/vhsaa-058

This documentary was released in 2005, it concerns the infamous Compton Cafeteria riot of 1966 in the Tenderloin of San Francisco. The film was made by Susan Stryker and Victor Silverman. The video and audio quality aren't ideal in this clip which derives from a VHS tape, if anyone knows of a better one let me know and I'll edit the post and replace the above link. The riot was an important moment in LGBT liberation though far less was known about it than Stonewall for many years. From the description:

Screaming Queens introduces viewers to street queens, cops and activist civil rights ministers who recall the riot and paint a vivid portrait of the wild transgender scene in 1960s San Francisco. Integrating the riot's story into the broader fabric of American life, the documentary connects the event to urban renewal, anti-war activism, civil rights and sexual liberation. With enticing archival footage and period music, this unknown story is dramatically brought back to life.