Silent Classics Meet Radiohead & R.E.M: A Perfect Match!

Over the past month, Robert Eggers' new version of Nosferatu has been conquering global markets. Meanwhile, on the opposite end of the cinematic spectrum, the century-old original Nosferatu is also making a comeback in theaters—albeit in a way you might not expect.

Josh Frank, an independent cinema manager and music book author, is experimenting with a new way to showcase classic films. He combines Murnau’s silent Nosferatu with Radiohead’s albums Kid A and Amnesiac, and Buster Keaton’s Sherlock Jr. with R.E.M.’s Monster and New Adventures in Hi-Fi. Starting from his Austin-based drive-in theater, he has expanded this unique screening experience to 200 theaters across the U.S., offering audiences an exclusive experience only available in cinemas. This project, which blends silent films with rock music, now has an official name: "Silents Synced."

This DIY screening method is reminiscent of the early 2000s. Josh’s inspiration indeed stems from that era, when he discovered a new synergy between visuals and music while watching Fritz Lang’s sci-fi silent masterpiece Metropolis paired with Nine Inch Nails’ album The Fragile. The resulting chemistry gave him the idea for this project.

However, the concept did not become a reality until the COVID-19 pandemic. With the U.S. on lockdown, drive-in theaters became one of the few approved venues for moviegoers. This unique circumstance inspired Josh to revisit his old idea and develop a fresh approach to drive-in curation.

As an author with deep knowledge of the music industry, Josh found navigating music licensing relatively manageable. His industry connections allowed him to reach out to the managers of many well-known bands, many of whom were enthusiastic about the Silents Synced concept. Many of these artists are also avid film fans. For instance, R.E.M. has long been admirers of Buster Keaton, and members of Nine Inch Nails, having entered the film industry themselves, are well-versed in classic cinema. These artists participated in the project because they found it cool and fun, not as a money-making venture. As a result, licensing fees were kept reasonable.

Still, some bands proved harder to collaborate with. For example, The Smashing Pumpkins expressed strong interest in Silents Synced, but their record label demanded prohibitively high fees—"enough to fund an independent film in Hollywood," according to Josh. Meanwhile, bands like The Cure outright declined the invitation, and Nine Inch Nails were in the midst of transitioning management, which caused delays in other parts of the project.

Despite these challenges, the initial Silents Synced screenings have already demonstrated potential and profitability. Audiences have enthusiastically embraced this novel format, with screenings selling out. Compared to traditional independent cinema programming, such as double features or themed retrospectives (e.g., pairing the new Nosferatu with the 1922 and 1979 versions), Silents Synced has drawn not only cinephiles but also rock music fans who rarely visit independent theaters. These new attendees might develop a taste for unique cinematic experiences thanks to Josh’s inventive project.

On another level, Silents Synced is a creative way to highlight the relevance of independent cinemas. All screenings are exclusive to theaters and will not be available on streaming platforms in the near future. The pairing of visuals and music is meticulously curated and edited by Josh and his team to deliver an effect that can’t be replicated in a home DIY setup.

This is undoubtedly a more artisanal way to bring audiences back to theaters. In an era dominated by streaming, where almost all classic films are easily accessible in high-definition, independent cinemas must differentiate themselves. Screening 35mm prints is one option, but this approach is expensive and unsustainable for most independent theaters unless backed by a wealthy patron like Quentin Tarantino.

Perhaps Silents Synced offers a roadmap: transforming independent cinemas into spaces that intersect with music venues, theaters, and art galleries. As cinemas are increasingly replaced by home viewing, and spectacle-driven films lose their appeal due to lackluster narratives, merging theaters with performance and art spaces could redefine their purpose. While the golden age of cinema is behind us, humanity’s need for storytelling remains. Like the novel—once dominant but now one medium among many—film will always have its place. The question is how to better position that place to support cinema’s growth as an art form.

This is why we need projects like Silents Synced and imaginative cinema owners or curators like Josh Frank. The survival and evolution of film can’t rely solely on creators; it also requires the imagination of distributors and curators to pave the way. Through innovative presentation, cinema can be revitalized with a new kind of energy and life.