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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?

http://www.youtube.com/watch?v=u1MKUJN7vUk

Or this one?

http://www.youtube.com/watch?v=gt2KlkBUgXA

Or this one?

http://www.youtube.com/watch?v=hhyMCA6jwWU

Or this one?

http://www.youtube.com/watch?v=pLRmVMVP7NQ

this one?

http://www.youtube.com/watch?v=IowunN9Y5yE

this?

http://www.youtube.com/watch?v=kmW3xVYQcPE

this?

http://www.youtube.com/watch?v=HCWXCPgS8n0

this?

http://www.youtube.com/watch?v=GZR58d77a4A

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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