- Somewhat inexplicably, exploitative "Showgirls" director, misogynist Paul Verhoeven is getting the best reviews of his life with his WWII drama, "Black Book."
- The "Spiderman 3" soundtrack is the biggest whitebread vanilla indie handjob in recent memory (aside from the "Wedding Crashers" soundtrack whose songs had almost zilch to do with the actual movie). Did it all of a sudden become cool to dip the toe into this ghetto? Yes. Included in the soundtrack are Coldplay-pantomime milquetoasters, Snow Patrol, The Flaming - We'll Sell Our Songs To Anyone These Days - Lips (they actually wrote a song called, "The Supreme Being Teaches Spider-Man How To Be In Love," disgusting) and posing as indie losers, Jet and the Oohlas. Also dumping unwanted tracks not even good enough for b-side exposure are the Yeah, Yeah, Yeahs, Wolfmother and the Walkmen. Who are they kidding? They should seriously just call this thing, "New Zach Braff" soundtrack.
- Cate Blanchett has joined the cast of Indiana Jones4 (aka Spielberg and Lucas' grand kids' grand kids college fund)
- Tom Cruise is out and then back in Comic book director, Bryan Singer's WWII movie.
- Hollywood is mining the dregs of comic books and cartoons. Soon to be heralded as the young actor of his generation hottie, Emile Hirsch, is fucking up his so-far stellar career choices to to play "Speed Racer" in the Matrix dudes' (Wachoswki Bros.) next film.
- God, comics. Green Hornet, once in the hands of Michel Gondry is back on the table.
- The guy who directed best movie ever made, "The Christmas Story," Bob Clark (and his son) died in a head on collision. I feel fragile. But a serious, rest in peace.
Ralphie as Adult: [narrating] Now, I had heard that word at least ten times a day from my old man. He worked in profanity the way other artists might work in oils or clay. It was his true medium; a master. But, I chickened out and said the first name that came to mind.
- I'm disgusted with myself for posting so much about comic book and geek movies.
- Somewhat inexplicably, exploitative "Showgirls" director, misogynist Paul Verhoeven is getting the best reviews of his life with his WWII drama, "Black Book."
Posted by Rodrigo at 6:35 PM
This time, San Francisco, Chicago and L.A. are getting the same kind of love as New York. Beloved Winnipeg surrealist filmmaker Guy Maddin ("The Saddest Music on Earth," sometimes known as the "Canadian David Lynch," though he is distinctly his own), he of the silent and expressionist bent (perhaps "Saddest's" snow-globe cinema should be known as its own genre), is taking his latest movie out on the road. Yes, this means more than just prints being shipped to different art houses, it means, a whole theatrical experience.
Maddin's new film, "Brand Upon The Brain," is touring and being presented in spectacular fashion with an 11-piece orchestra, 5 foley artists (live sound effects to picture), a Castrato (a male soprano), and a celebrity narrator. Past and future narrators include, actors Isabella Rossellini, Crispin Glover and Joan Chen, performance artist Laurie Anderson, poet John Ashbery, and umm...Alanis Morissette (her "Humps" must be quickly accruing her street cred).
When "Brand" hits theaters proper, "Saddest Music" star Isabella Rossellini's pre-recorded narration will accompany the film.
Check the "Brand Upon The Brain" site to get the full-listing of shows from the aforementioned lucky cities.
It might be trite to point out considering Maddin's amazing body of work, but he also directed one of our favorite videos -- the beautifully fitting clip for surrealist indie rocker's Sparklehorse's "It's A Wonderful Life," the title track from their 2001 disc.
Sparklehorse - "It's a Wonderful Life"
There apparently is a 2nd version of "Wonderful Life" directed by Maddin, but I can't seem to find it online.
To make it less trite, some clips of Maddin's unique and evocative work.
A Trip To The Orphanage (2004)
The Saddest Music in the World (2003)
Posted by Rodrigo at 9:06 AM
OK, how's this for a story? It combines a film and soundtrack 10 years in the making, black magick, Led Zeppelin's Jimmy Page, LSD and mescaline trips, the Sexual Freedom league, Charles Manson, sweet, sweet, murder, a stint in San Quentin, occult legend Aleister Crowley, Church of Satan's Anton LeVay, Germany's Externsteine, and... ah you get the friggin' picture, huh?
This weird, massive epic is the story of Kenneth Anger's "Lucifer Rising" and the tumultuous struggle to record its soundtrack with '60s psyche-rocker Bobby BeauSoleil.
I can't even attempt to do the tale justice, but basically, bat-shit crazy avante-garde, underground filmmaker Kenneth Anger tried to make his out-there, drugged-out manifesto, "Lucifer Rising" in 1968. Due to drugs and a lot of other stupid shit, he failed miserably. At the time he tried to enrole BeauSoleil to compose the soundtrack with his then psychedelic chamber music group, The Orkustra.
BeauSoleil gets so into the project his band quits. No mind, he starts a new one called The Magick Powerhouse of Oz (awesome, right?). Filmmaker and musician move in together, black magick occurs, chairs are emblazoned with 666, trips are taken (and by this we mean boatloads of drugs are ingested) and the relationship disintegrates one night onstage in a disastrous evening of flash-point drama (Anger beats someone over the head in an LSD-confused haze; a concert is ruined)
Loads of F-bombs are dropped, reels of film are stolen, fingers pointed, accusations made, unreliable narrators telling unreliable tales, fuck you collaboration.
Both go their separate ways leaving the madness that is drug-infested, syphilis-ridden Haight Ashbury San Franciso and BeauSoleil crosses path with the Manson gang. Needless to say he is quickly charged with murder when he stabs some unlucky drug dealer in the gut and murders his ass. A life sentence in San Quentin is handed down, goodbye life (he's mentioned in the Manson book "Helter Skelter" too)
Anger, meanwhile hires Led Zep shredder Jimmy Page to compose the score, but Page becomes rather "indisposed." From prison, BeauSoleil gets word that Anger, years later (this is like early 1970s, i think, most confusing timeline ever), is resurrecting "Lucifer Rising." This is unfinished business, prison be damned. The charming BeauSoleil somehow convinces prison officials that a convicted murder must create the score to what is actually avante-garde cinema, but to these people must be hippie-scum ratshit trying to pass off as freaky art.
Page, who apparently takes forever (3 years) to deliver 25-minutes of useless droning nonsense (would love to hear this now), is fired once Anger gets BeauSoleil's impassioned plea to work on the project once more.
From prison, the convicted murderer, builds keyboards, builds electric guitars and creates a score for $3,000 that is a claustrophobic and volcanic psychedelic head-trip. This inventive nutjob does final mixes, splicing and sequencing in his tiny little cell (you also have to potty in their, gross). BeauSoleil watches the film once and somehow the score fits perfectly (of course it does, you watch it high as a kite and it works, duh).
What I gather from the rest of this crazy, rambling story is that somehow the band the Freedom Orchestra is involved and these recordings - made in '77-'79 - are added to Anger's now-legendary film and then promptly lost forever (the film finally comes out in 1980, which is more than 10 years from inception if you understand basic mathematics, which I apparently do not).
Some years later a journalist asks BeauSoleil (who still resides in prison and continues to be denied parole) where the tapes for the soundtrack are and he denies their existence. Finally, an old Orkustra bandmember finds them in his house some 30 years later and voila, this fucking long-winded story is thankfully over (shit, you should try reading the press release, it's like studying for a term paper).
Wow, I'm so exhausted, I may never listen to this entire score again. It's dark, sometimes ambient, feverish psychedelia, not unlike you might see in an early (and bad) Peter Fonda movie like "The Trip." This mean, Vice Records' Adam Shore is going to love it to pieces.
Why didn't Jimmy Page compose the score to "Lucifer Rising"? He was chasing the dragon according to Anger.
Which isn't far fetched, Pagey had well-documented problems with junk.
"Lucifer Rising" Bummer trip dude...
In what is known as an "editorial stretch" in the biz, (ok, that's actually what I call it), Kenneth Anger's avante garde homo-erotic biker film/sort-of companion piece film, "Scorpio Rising," was the primary influence behind electro-rockers Death In Vegas' criminally underrated 2001 record Scorpio Rising. "Scorpio Rising's" soundtrack is excellent too (lots of girl groups), but that will be another post.
Posted by Rodrigo at 7:59 PM
Out on DVD This Week:
- The original swinging London, 1967 "Bedazzled," starring Peter Cook and sans Elizabeth Hurley
- Robbed in the Foreign Oscar category and by robbed we mean, not even nominated, Pedro Almodovar's amazing, "Volver," with its incredibly evocative Hitchockian-score by, Alberto Iglesias -- cited by heavy weights like Hans Zimmer "(The Thin Red Line"), Howard Shore ("LOTR") and this year's original score winner, 2-time Oscar fave Gustavo Santaolalla ("Brokeback Mountain") as being one of the year's best.
- Twin Peaks Season 2. Lynch's spooky and obtuse tv drama had jumped the shark by the end of the first season, but some devotees will buy this nonetheless.
Tarantino And Dylan: Sparring Partners?
In the new issue of GQ, Tarantino says he delivered the "Grindhouse" script to Bob Dylan, yeah, that Bob. Why? He thought he would appreciate the "wordplay." Apparently QT (sorry, trying to be brief) and Dylan are friends and met at Dylan's private L.A. boxing gym 6 years ago. And they even traded jabs to the chin (how can you miss Tarantino's?)
GQ: Weren't you scared of hitting Bob Dylan?
No, it was cool. He wanted me to, like everybody else, he wanted to play hard.
GQ: What's his punching like?
Actually he nailed me with a really good one. We were sparring and he got in a good one when I wasn't paying attention...I let my guard down for a second and he just thumped it. It was a good punch. But i hadn't talked to him in a long time, and so I gave him a call and he just happened to be there, and so we talked a little bit and he was, "Oh, I'd love to read it, send it over."
Then Tarantino goes on to say how Dylan influenced him and typically, compares his work to Zimmys.
Tarantino: I just found myself listening to his work on the way to work [and back]. And I even fell in love with Self Portrait [ed note. wow, congratulations]. I wouldn’t go so far as to say that this film is my John Wesley Harding, but it accomplished some of the same things to me that John Wesley Harding did. I turned a corner with this script … and I think that it’s going to lead to other interesting things down the line.
Like films that aren't made for 16-year-olds? How about a return to some mature fare like "Jackie Brown." Now that would be nice. I am now going to link to my excellent imaginary Quentin Tarantino soundtrack that you should all download. It kinda rules.
Posted by Rodrigo at 11:41 AM
The inspiration behind Terry Gilliam's "12 Monkeys," Chris Marker's 1962, 28-minute experimental science-fiction film, "La Jetée" is finally coming to DVD (and by that we mean regular, not hard to find dvd). There is no dialogue and the film is just presented as a collection of still photographs while a narrator tells the post-apocalyptic tale.
Criterion is releasing it alongside, "Sans soleil" in June.
The film was also the inspiration behind Elliott Smith's last video, "Son of Sam," that was directed by (full-disclosure: a friend of mine) Autumn De Wilde who has become the go-to indie-rock photographer in recent years shooting Beck, the Yeah, Yeah, Yeahs, the Strokes, Jenny Lewis, etc. etc. Subsequently, we haven't really been in touch in years, but I'm still a big champion of her amazing work.
Seven whole minutes of La "Jetée"
Elliott Smith's "Son of Sam"
The artwork for Elliott's forthcoming (May 8) posthumous double-disc, New Moon, comprised of music made during his Kill Rock Stars era.
Man, the new Die-Hard 4 trailer is just a doozy of a laugh, ha, ha.
Did you hear the sudden whoosh of air after that clip was done? That was all the intelligence left on earth being sucked out of the room.
Posted by Rodrigo at 8:14 PM
The nerds that brought you the U.K. zombie romp "Shaun of the Dead," are back with "Hot Fuzz," which is already a huge sensation in the U.K. Without reading a word about it, one can assume it's another one of those zany Brit comedies, this time about "Bobbies." It sort of looks like the British version of "Super Troopers": ineffectual, overeager, bored local cops have nothing to do, create amusement for themselves and then likely stumble upon something that Scotland Yard or someone should deal with, but this is their big opp to shine! My sarcasm and disdain is sort of exaggerated. "Shaun" was initially annoying (to me), but I've come to relax and enjoy it for what it is. I think it's just that zombie movies generally drive me nuts, because the characters keep doing stupid things that will obviously get them killed and this movie was obviously just a parody of the genre, but maybe I just couldn't get past that, etc. etc.
Anyhoo, the soundtrack looks fun. It contains tracks from the Kinks ("the Village Green Preservation Society" !!!), T-Rex, XTC, the Troggs, Supergrass, Jon Spencer and Robert Rodriguez?
The connection is that "Shaun" director, Edgar Wright, directed one of the fake "Grindhouse" trailers that separates the two films ("Don't Scream"). The other two are directed by schlock it-boy of the moment, Eli Roth ("Thanksgiving"), Rob Zombie ("Werewolf Women of the S.S.") and Rodriguez himself ("Machete").
OK, that's enough Grindhouse for one week, but you can see why the fan-boys are totally erect for this film; it's total nerd-porn.
Back to "Hot Fuzz." I'm not sure how I feel about this movie, but I may have to see it just to see "The Village Green Preservation Society" used on film. It's one of my all-time favorite songs (I put it on my first fake movie mixtape cassette, yes, cassette, in 1998) and I'll have high expectations of how it's used. It'll be interesting to see it if plays anyhow. Lord knows one could get major comedy out of that juxtaposition of song and celluloid.
According to the always unreliable IMDB, "Fuzz" opens in the U.S. in limited release on April 22. No word on the soundtrack release date yet. Time Out, has a good overview article on "Hot Fuzz" if you want to explore deeper.
How amazing is this? (Angelo, I KNOW you are gonna love this)
The Kinks - The Village Green Preservation Society 
I wonder if one of those female back-up singers was (Ray's wife) Rasa Davies.
Posted by Rodrigo at 7:01 PM
Girl Pants put together this great little movie scores mixtape back in May '06 (don't think I'm not planning on doing the same soon), but I think it's great, I love the layout and perhaps those reading would enjoy. The score to Jonathan Glaser's "Birth" (by Alexandre Desplat) and "The Thin Red Line" (Hans Zimmer, directed by the great Terrance Malick) are two of my personal favorites. Not many people probably remember or realize that Blur's Damon Albarn teamed up with composer Michael Nyman (the gorgeous score to "The Piano" by Jane Campion) to creat the score to the little-seen cannibal film "Ravenous."
Download: Damon Albarn and Michael Nyman - Ravenous - "Colquhoun's Story"
Download: Alexandre Desplat - Birth - "Prelude"
Download: The Hans Zimmer - Thin Red Line - "Journey to the Line"
Sorry rest of the world. You're out of luck again. And I don't mean to be smug at all; this is the reason I can't leave New York (yes i can). David Gordon Green ("George Washington," All The Real Girls") long-awaited, and waiting-in-limbo, "Snow Angels" was a Sundance hit... in 2006, but the film didn't find instant distribution and has been sitting on the shelves for sometime now (Green is already working on "Pineapple Express," more on that later.) The film is finally getting distribution from Warner Bros. in 2008, but the Brooklyn Academy of Music
will have its second annual Sundance at Bam series from May 31-June 10, and DGG's "Snow Angels" will have its New York premiere (thanks to Take The Money and Run)
Followers of the Playlist (nobody) will know that we (me) are big fan(s) of DGG, but we're also big fans of David Wingo and Michael Linnen, the two musicians who have composed much of the scores to Green's films (except for "Undertow" which has an unfortunate score by Phillip Glass -- though Wingo/Linnen composed a few elements here and there).
We were lucky enough to get our hands on some of David Wingo's solo project before he renamed it Ola Podrida and we included it in our (my) If I Were David Gordon Green imaginary soundtrack. So check out the Ola Podrida song "Instead" on that playlist. It's ffff'ing gorgeous.
Wingo also scored some of "Snow Angels," but my questions is this: what happened to Michael Linnen? (I know he has bands, Monroe Mustang, Pilot Ships, that are active, inactive?) Not sure if they're still working together on DGG film scores or what which would be a shame cause they were so amazing together. But Wingo's pretty fine on his own too.
Download: David Wingo & Michael Linnen "Hottub"
New York's amazing repertory theater Film Forum is having an amazing (non-fiction) Werner Herzog retrospective starting May 15. There's many an amazing film playing, but highest recommendation goes out to the love/hate, hate/hate Klaus Kinski/Herzog documentary, "My Best Fiend." Directed by Herzog eight years after Kinksi's death in 1991, "Fiend" was the filmmakers moving tribute to the actor and their tempestuous relationship on and off set. Herzog and Kinksi worked together on five films (including "Aguirre: The Wrath of God," widely regarded as one of the most important "foreign" films of all time) and each time some madness ensued. However, as difficult, outrageous and manic as Kinksi's behavior was, Herzog casts him in such an affectionate light, understanding his madness contributed to Herzog's films and often times elevated them to a level of poetry.
Herzog's first-person accounts of Kinski are fascinating; full of venom, mistrust, animosity, yet the utmost respect and tons of love. It's an outstanding documentary. The doc about Herzog himself, "Burden of Dreams," by Les Blank is equally compelling and illustrates that Herzog is quite the nutter himself (not that he portrays himself as an angel in "Fiend").
"People think we had a love-hate relationship. Well, I did not love him, nor did I hate him. We had mutual respect for each other, even as we both planned each other's murder." - Werner Herzog on Kinski.
The film's conclusion where Herzog waxes romantically about his former leading star, how much he meant to him, how much he meant to cinema is practically tear-inducing. Herzog has an amazing way with words in that he can be so ridiculous, so over-the-top and then suddenly become so grand, and beautiful.
There's an amazing, amazing Popol Vuh (a German proto-ambient Krautrock group who did many of Herzog's scores) instrumental at the end that anticipates My Bloody Valentine by at least 10 years that is just astounding. If anyone has the track that ends that movie, please, please for the love of god, send it to me.
In lieu I have posted two Popol Vuh songs from "Aguirre." They are lovely in their own way.
A friend who will remain anoynmous, but close to it all noted that Herzog's manager (also his brother) is, naturally, extremely difficult to work with and was trying to impose outrageous financial demands for Herzog to appear. No big surprise there. If you live in New York do yourself a favor and catch as many as these of these films as you can.
Download: Popol Vuh - Morgengruss II (mp3)
Download: Popol Vuh - Agnus Dei (mp3)
Ok, odes isn't a verb, but...
In typical fashion, Quentin Taratino's "Death Proof" soundtrack (his half of the "Grindhouse" double feature), repurposes music from past movies. Now this isn't a major crime and is part of Tarantino's shtick (Much of the "Jackie Brown" soundtrack was taken from '70 exploitation films, like Bobby Womack's "Across 110th Street," taken from the eponymously titled film, uh, "Across 11oth Street"), but you wonder after a while whether some of his geek boy fans will recognize that his "genius" is simply recycling. Perhaps they don't care. Or perhaps artists borrow and geniuses steal.
Music in the movie includes songs by April March, Jack Nitzsche ("The Last Race" from 1968's "Village of the Giants"), Pino Donaggio ("Sally And Jack" was first used in Brian DePalma's Michaelangelo Antonioni homage, "Blow Out"), Ennio Morricone (An atonal track taken from Italian horror maestro Dario Argento's "Gatto A Nove Code"), Willy DeVille ("It's So Easy" from "Cruising"), the Coasters, Eddie Floyd and more.
What, no "Planet Terror" soundtrack? I suppose if you were fucking Rose McGowan, you too would be too busy to cobble together a soundtrack disc.
But actually, there is a "Planet Terror" soundtrack and it just seems that Tarantino's soundtrack has naturally been eating up all the attention (it doesn't help that they are both released on different record labels and Rodriguez's disc is coming on a fairly unknown imprint). Most of "Terror" is composed by Rodriguez himself, an accomplished musician, with the help of Graeme Revell, Rick Del Castillo, Carl Thiel, George Oldziey and his younger sister Rebecca Rodriguez.
Is this the official "Death Proof" soundtrack website? (see? No, "Planet Terror" site?) If so, it's got the weirdest URL I've seen for a film affiliated with a major studio. Perhaps it's some in joke we don't know about. It's highly possible.
Everyone is raving about the film "Killer of Sheep," a film that has been languishing in obscurity for nearly 30 years. Directed in 1977, by then-UCLA film school student Charles Burnett, "Killer of Sheep" is what critics like to call a poetic meditation on the urban experience in the 1970s. As cliche as that sounds it's pretty apt. It's a beautiful, stark film with little or no plot (and that's more than OK) and just presents life in a dreamy, often melancholic gaze of struggle, hardship and play.
The soundtrack is interesting and notable for many reasons, not the least being that acquiring rights to the film delayed the film's re-release for much longer than anyone expected.
“We thought it would take about six months to get the music clearances,” Dennis Doro, the films new distributor told the New York Times. “That was six years ago.”
The movie, called a "masterpiece" by the Times -- was never meant to be released; this was essentially Burnett's thesis project, but the film was met with such a powerful response that it wouldn't die and for 3 decades has been shown only at film festivals and rare student screenings. The film was selected by the Library of Congress for the National Film Registry, if that's any indication of how respected it is.
One of the major hold-ups for re-releasing the picture was the Dinah Washington cover of Nat King Cole's "Unforgettable" which was originally used at the film's wistful conclusion. The track was much too cost prohibitive and instead, the filmmakers had to recycle Washington's "This Bitter Earth" -- a song that was used earlier in the film in a emotional dance between the sad-eyed protagonist, Stan (Henry Gayle Sanders) and his wife (Kaycee Moore; both of them first-time actors (the cast is all "non-actors").
In the end, the music rights ended up costing a whopping $150,000 (this is a small company mind you) and Steven Soderbergh fortuitously gave a gift of $75,000 to help the filmmakers out. That's some serious patronage of the arts.
Without "Unforgettable," the context of the ending changes I'm sure (obviously, we've never heard the song to picture), but "This Bitter Earth" does work rather marvelously in both places and creates a pretty poignant through line.
Loudmouth Quentin Tarantino apparently was spotted at a midnight screening on Saturday night. Hmm, this is no "Grindhouse," but I guess he does have an affinity for his fellow African-Americans. It's playing in New York at the IFC Center and is garnering some of the most ridiculously positive and glowing reviews in recent memory.
Update: Milestone films is putting out "Killer of Sheep" on DVD in November. It will come out as a boxset with other Burnett films including, "To Sleep With Anger," starring Danny Glover.
Download: Dinah Washington - "This Bitter Earth" (mp3)
Download: Dinah Washington - "Unforgettable" (mp3)
The Times article on "Killer of Sheep" is pretty thorough, though it will expire (as NYTimes articles are wont to do), in a week or so.
No, this isn't an April Fool's joke. I have this little project called the Playlist Soundtrack Series where I create imaginary soundtracks of directors I like. I call them the, "If I Were______ (insert filmmakers name). I have posted all the original Playlistpre-blog soundtracks I have made here (roughly around the time they were first made).
Here's the newest editions, Volumes 7 & 8: Noah Baumbach and Quentin Tarantino.
If I Were Noah Baumbach: Soundtrack Series Volume 7
01 - Please Patronise Our Sponsors - Jim O'Rourke
02 - Strange - Galaxie 500
03 - Charley's Girl - Lou Reed
04 - I Love You More - The Softies
05 - Slow Loris' Lament (edit) - Black Barry
06 - Coconut - The Sea and Cake
07 - It's Only Life - The Feelies
08 - No One Around - Bert Jansch
09 - Once I Was - Tim Buckley
10 - Posed By Models - Young Marble Giants
11 - The Sun Is Still Sunny - Dean & Britta
12 - Spiegel Im Spiegel (edit) - Arvo Pärt
13 - Green Green Rocky Road - Kate & Anna McGarrigle
14 - Things - Loudon Wainwright III
15 - Blaming the Messenger - Pell Mell
16 - Cars And Parties - Edith Frost
17 - Bloody Mother Fucking Asshole - Martha Wainwright
18 - Ce Matin À Frèmontel (edit) - Emmanuelle Parrenin
19 - I Won't Stay - Po!
20 - Bewitched - Luna
21 - There's Hell In Hello But More In Goodbye (edit) - Jim O'Rourke
22 - Spacy Basement (edit) - Royal City
23 - Carry Me Ohio (edit) - Sun Kil Moon
24 - Comin' Through - The Pastels
If I Were Quentin Tarantino: Soundtrack Series Volume 8
01 - Oh Girl - The Chi-Lites
02 - Somebody's Been Sleeping - 100 Proof (Aged In Soul)
03 - Me Japanese Boy I Love You - Bobby Goldsboro
04 - Fool In Love - Veltones
05 - Django - Luis Bacalov
06 - Huskie Team - The Saints
07 - Trying To Make A Fool Of Me - The Delfonics
08 - Je M'Appelle Geraldine (Mid-Tempo) - Jean Claude Vannier
09 - That's The Way I Like It (I Like It That Way) - Barbara Lewis
10 - What's More I Don't Need Her - Lee Hazelwood
11 - I Wanna Get Next To You - Rose Royce
12 - Slalom 3 - Ennio Morricone
13 - Searching The Circle - Barbara & Ernie
14 - Bathtub (Skit) - Ghostface Killah
15 - Touche-Moi - Stereo Total
16 - Sentimental Journey - Esquivel
17 - Sideshow - Blue Magic
18 - My Friend Bobby - Pamela Blue
19 - Butter Your Popcorn - Hank Ballard
20 - Thinking - The Meters
21 - Kiss And Say Goodbye - The Manhattans
22 - Outta Space (edit) - Billy Preston
23 - The Burning Of The Midnight Lamp - Rotary Connection
24 - Visa To The Stars - Perrey & Kingsley
Why these two directors? No particular reason. I always have around 10 or so imaginary soundtracks on the go and some fall into place quicker than others; those are the ones I generally focus on as I can see the light at the end of the tunnel.
Baumbach's -- who made the films, "Kicking & Screaming" and "The Squid & The Whale," in case you were unaware -- has a sort of autumnal quality based on moods and tones of his past films (esp. 'Squid') and Quentin's is sort of a mish-mash of all his eras with nods to the outré, obscuro vein he started using around the "Kill Bill" films.
I stress that I'm not necessarily always a fan of all the filmmakers I make soundtracks of, but some of them just lend themselves well to this project, and at the very least, once I've decided on a filmmaker and started working on the project, it's always an interesting exercise and oftentimes a fun challenge.
*Links removed, too many issues with Google.
OK, hope that someone enjoys. Who's next if you happen to care? Good question. Many of the usual suspects are in the works. If you have a suggestion those, please, please feel to put it in the comments section, but note directors that don't really use pop music are going to be somewhat hard to do. There are exceptions to every rule of course, but there's no sense in recycling original scores for a filmmaker that only uses original scores, you know?
That said, I'm still open for suggestions. Please note the artwork I made above is attached to the mp3 files, so those that use Ipods, the artwork should hopefully display for you. If not, download the art of this blog, select all your tracks and add the artwork yourself. It ain't rocket science, but feel free to ask questions.