So I’ve never had to have an artist in to see a picture, but I have had to go to the mat. But I wrote another letter to the James Brown estate, and they approved. Basically it was describing it passionately, and making a case for why it was important to have over-the-top violence to really illustrate why this was such a surrender for him to give up and to save his wife. He actually even uses a corpse as a shield. And Quentin, of course, wanted to use it in one of the pinnacle, most over-the-top bloody scenes in the movie, the shootout where it’s (Jamie Foxx’s character) against everybody. James Brown’s estate was like, nope - nope, nope, nope, wasn’t going to happen. For “Django Unchained,” the James Brown estate was very adamant they did not want to let us use “The Payback” for the mash-up “Unchained,” which was Tupac and James Brown - which we created, by the way, for the movie. I have to be very upfront about what’s happening in the scene for some of these licensors, some of these artists - they want to know. I can’t just clear a piece of music for something that’s going to be very bloody or very violent. We haven’t ever had to do that on a Quentin movie, although I’ve had to beg and describe things very explicitly. I was just talking with Paul Thomas Anderson about having to have Jeff Lynne come in for a screening to sign off on “Boogie Nights.” Have you ever had to have the artist come in? It’s a great feeling to be able to not have to tell Quentin he can’t have something because of a technicality or red tape. It turned a no into a yes, which was really kind of a win and a great feeling. Don’t do drugs! And Neil Diamond let us use the song. and I wrote a letter to Neil described how the scene doesn’t glorify drugs at all, even though (Uma Thurman’s character) ODs -I mean, basically saying it’s a cautionary tale of what happens when you do drugs. With “Girl, You’ll Be a Woman Soon,” Neil Diamond’s publisher turned us down. So coordinator kind of expanded into something more creative.īut there were also moments of important clearance situations. And he picks “Flowers on the Wall” from that. We had “Flowers on the Wall” on there and “Hello Walls” by Faron Young …. I need to get something right away.” And I said, let’s send him this tape. Remember those? And he called from the set and said, “Bruce (Willis) wants to sing something in the car.
And Karyn Rachtman and I had made a cassette of just goofy songs that we thought were fun, just for our own pleasure - a mix tape. So when they’re walking down the hallway towards the apartment at the beginning and there’s a little tiny piece of “Strawberry Letter 23,” I’m like, “Ahhh, I remember that! I gave him that!” Because he needed something to come out of the hallway, so there’s moments like that. You’d think I’d have this in my DNA and would just know it right away, but it’s always kind of surprising to watch these movies again and be reminded of things. But “Pulp Fiction” kind of expanded more into creative. “Reservoir Dogs” was really minimal, actually, for me. But yeah, I was essentially working under the music supervisor and dotting I’s, crossing T’s, and suggesting (choices).
#ONCE UPON A TIME IN HOLLYWOOD SOUNDTRACK MOVIE#
So, every movie basically.Īs the title of music coordinator considered one step below music supervisor, or just a different job? And so I started working on post-production “Reservoir Dogs,” in the capacity of music coordinator, and then moved on from there - coordinated “Four Rooms” and “Pulp Fiction,” and then moved on from there when his supervisor (Karyn Rachtman) went into Capitol Records after that. But I met Quentin when he was filming “Reservoir Dogs.” I was in a group of friends that befriended Tim Roth when he moved to Los Angeles from the UK, and I met Quentin through Tim, when they were working on “Reservoir Dogs” together, and we hit it off talking about music. Right? We can expand or contract, however you like. We were trying to count how many films you’ve done with him, and based on how you count, it’s 9, 10, 11 or 12 - based on whether you count “Four Rooms” or whether you count “Kill Bill” once or twice and that sort of thing. “It’s all okay! Just let go a little bit!” And yes, you can have your favorite composer (Ennio Morricone). That one was the one where it was convincing him that, yes, you can have a composer. But “Hateful Eight” had its its own particular musical challenges.
In “Hateful Eight,” no one is playing Boss Radio in the background. This had to be a lot more work for you than the last Tarantino movie.
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