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March 13, 2014


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Jonathan C.

Two things:

I don't think Walter is saying that the only way that Anderson has gone astray is his not using pop music.

and - A good example of how to use pop songs in films in a way that's non-expository, but poignant, I think of Kubrick. Singin' in the Rain for A Clockwork Orange for example, or Bicycle Built for 2 for 2001 or We'll Meet Again for the end of Strangelove. Full Metal Jacket, too, is better for its use of non-original score.

Speaking of Singin' in the Rain - none of that music was composed specifically for the movie I don't think - all of it was pop. Original score is as often narrative exposition as not - John Williams, James Horner - they tell you how to feel in ways more offensive to your intelligence than, I think, Needle in the Hay does in Royal Tenenbaums or that PJ Harvey cover that Juliette Lewis sings in Strange Days. How about this scene? Better with an original score?


Or this one?


Or this one?


Or this one?


this one?








Or the whole of The Graduate and Harold & Maude and The Big Chill and American Graffiti and Dirty Dancing and Top Gun?

Not to say there aren't wonderful original scores - Cliff Martinez and Alexandre Desplat (of GDH fame) do strong, sometimes extraordinary work. Williams for Star Wars and Superman and Indiana Jones. Sergio Leone + Morricone = bliss. Argento + Goblin. But saying that one exists at the exclusion of the other is silly and limiting - and that the way that you approach the conversation is needlessly personal and abrasive.

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