In a candid conversation this week on Noise11, Stewart Copeland reflected on the seismic shift that occurred when his rejected songs for The Police found new life through Francis Ford Coppola’s invitation to score Rumble Fish. Stewart announced the burning question “Why did Coppola choose you, an untested film composer?”
Stewart replied, “He’s an adventurous man. His son said, ‘This movie’s about rhythm. Call that Police guy.’ He gave me a long rope. I scored most of it by hand—xylophone, guitar, mallets. Then he asked for strings. I had to buy manuscript paper and write charts for the first time since college. The players came in, sight-read, and it was glorious. That’s when I fell in love with the orchestra, a love affair that continues today with projects like Police Deranged for Orchestra.”
Watch the Noise11 Stewart Copeland interview here:
This modest origin story belies a bold creative experiment. Coppola, haunting Rumble Fish with urgent themes of time slipping away, envisioned a largely experimental score anchored in percussive textures—an ideal match for Copeland’s gifts. Originally asked for a rhythm track, Copeland rapidly earned Coppola’s trust and was handed full scoring reins.
Released in 1983, the Rumble Fish score sprawls across 13 tracks on A&M Records, including the single “Don’t Box Me In”, co-written and performed with Stan Ridgway, which earned heavy MTV rotation at the time.
True to his percussion pedigree, Copeland filled the soundtrack with eclectic instrumentation—piano, guitar, tuned percussion, typewriter, and even kazoo. He also incorporated street-recorded sounds from Tulsa, blending them with Musync, a then-new tempo-editing system that gave the score its distinctive pulse.
The result was daring and atmospheric, tightly wound, and rhythmically restless. The music often sat uneasily against the film’s imagery, but that tension gave Coppola’s story an added edge. Today, it stands as one of the most adventurous soundtracks of the 1980s.
That same year, Copeland earned a Golden Globe nomination for Rumble Fish. While the album itself wasn’t a mainstream smash, it proved pivotal, transforming him from one of rock’s greatest drummers into a respected composer.
That opportunity launched a career spanning film, television, video games, opera, and ballet. From Oliver Stone’s Wall Street to Spyro the Dragon, from Grammy-winning projects like Divine Tides to orchestral works like Police Deranged for Orchestra, Copeland has never stopped evolving.
In his Noise11 interview, he acknowledged Coppola’s role in reshaping his destiny:
Paul: “Did Coppola save you from The Police?”
Stewart: “Yes. It was tough at the end—like wearing a Prada suit made of barbed wire. Francis gave me freedom and respect. That’s when I knew what I wanted to do next. So yes, blame Coppola for breaking up The Police.”
Stewart Copeland – Have I Said Too Much? Tour 2026 (Australia & New Zealand)
Stewart Copeland’s will bring his Have I Said Too Much spoken word tour to Australia and New Zealand in January.
Australia
Sunday 11 January – Regal Theatre, Perth WA
Wednesday 14 January – Forum 2, Melbourne VIC
Friday 16 January – State Theatre, Sydney NSW
Saturday 17 January – The Tivoli, Brisbane QLD
New Zealand
Tuesday 20 January – Opera House, Wellington NZ
Wednesday 21 January – Bruce Mason Centre, Auckland NZ
Tickets and info: www.birdsrobe.com
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