December 24, 2023 • 55 mins
Are you ready to unlock the secret power of music in film? Ever wondered how a simple tune can elevate a scene, evoke deep emotions, or even define an entire character? We've got you covered. This episode of Sound Sagas is all about exploring the magical intersection of music and movies. We pull back the curtain on the complex relationship between film and soundtracks, shedding light on how bands and composers shape the cinematic experience. So, whether you're a film buff, a music lover, or both, this episode is your golden ticket to understanding the art of movie soundtracks.
From Drive and Twin Peaks to Mad Max and The Fast and Furious Saga, we dissect the influential role of music in both classic and contemporary films. We share our insights into how a well-crafted score can set the mood, build tension, and even redefine the perspective of a movie. And we don't stop there. We also dive into the world of biopics, examining the intriguing case of Bob Dylan's retrospective and the profound impact it has had on his mythos.
But we're not just talking about music in movies - we're also reflecting on how music has shaped the very fabric of the film industry itself. From iconic James Bond film scores to the custom songs that play as the credits roll, we explore the varied and powerful ways in which music interacts with, and enhances, the filmic narrative. As we wrap up, we invite you to join us in celebrating the truly transformative role of music in film. And if you loved this episode, be sure to like, subscribe, and hit our notifications for more insightful content!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:17):
Alright, welcome to a new episode of Sound Slog, as
we're here to talk about musicin movies.
I mean, how could you talkabout one without the other?
It's kind of hard, but our goalhere is to explore all the
dynamics around putting sound tomovie.
(00:37):
Putting sound to film.
Sound that doesn't exist in thenarrative of the film is sound
that's added later to create aneffect.
Or maybe the movie is writtenaround the sound, or maybe the
movie is about music.
Speaker 2 (00:50):
These things are all possible.
Speaker 1 (00:53):
There's a lot of depth and interesting concepts
to this topic that we want toexplore.
By no means are we going to becomprehensive in just one hour.
Just two guys.
Speaker 2 (01:04):
There are tons of sounds, soundtracks, scores,
fully work to talk about.
Speaker 1 (01:11):
I think so we're definitely interested in.
While I speak for myself, I'mdefinitely interested in bands
that write soundtracks formovies.
Daft Punk wrote the soundtrackfor Tron Legacy, right, but
there's composers who aren't inbands.
I think you said in an earliertake of this episode you said
that John Williams does not havea rock band.
Speaker 2 (01:34):
True that.
Speaker 1 (01:34):
He's a composer.
Speaker 2 (01:37):
Unless he does, then we'd like to know about it,
Unless we're severely wrong andthen we'll put something on the
screen that says oops.
I mean, I seriously doubt JohnWilliams is a rock band.
I seriously doubt it too.
Speaker 1 (01:47):
The point remains they are composers that write
music for movies.
I think people know there's adifference between that and then
a band, who then is eithercontracted to score a movie or a
band whose existing songs arethen used to soundtrack a movie.
Speaker 2 (02:03):
Yeah, I mean, there's a market difference.
Absolutely.
When we're talking about who'swriting for what, you have to
come back to what the band ispassionate about, what the movie
is about.
There are a lot of factorsleading up to a band wanting to
do music for a movie, right.
Speaker 1 (02:26):
Does it fit with the band's artistic style or
aesthetic?
Even yeah, Does it make sensefor the band to be associated
with this kind of project?
Right?
So there's a filter there andit doesn't always work out that
a band would be appropriate fora certain movie.
Speaker 2 (02:39):
Right, and I think there's more control on the band
side.
Now too, of like, do I want todo this or is this right for our
music?
Speaker 1 (02:46):
But some movies aren't written or even
considered as needing a band.
They're written and expected tohave compositions from
composers like Hans Zimmer, forinstance.
Right yeah, I wonder if thatchanges, like how movies are
conceptualized and written inthe early stages, like will we
have band music or will we havecomposing music, right, I mean,
(03:08):
I'm sure it does, and one of ourkind of examples we looked up
to was 2001,.
Speaker 2 (03:13):
Space Odyssey Right, I mean that originally had a
score for it that wascommissioned by Kubrick.
They ended up not going withthat, they went with classical
music, which is also a theme inhis other movies, right.
So I mean you can kind of startwith something, end up
somewhere and not know you knowwhere you're going the entire
(03:34):
time.
It just works, feels right.
It's the right decision for thecreative project.
Speaker 1 (03:41):
Yeah, that's right and like.
Part of what we want to discussis, like some of our some
examples of our like favorite,our favorite dynamics between
movie, movies and music.
Right, like examples where themusic's obviously good, the
movie's probably good, but wherethe dynamics are interesting.
Right, like, for instance I'lltalk later about Eight Mile.
Like Eminem, like not only washe the artist of the music the
(04:03):
movie was about, he was the leadactor playing himself in the
movie, about his music and hislife.
Speaker 2 (04:09):
Right.
Speaker 1 (04:10):
And that happened every time with movies like
Bohemian Rhapsody, which had anactor play Freddie Mercury,
obviously Freddie Mercury notbeing alive, unable to play
himself, but in any case he wasnot himself in the movie.
Speaker 2 (04:21):
Yeah, and it kind of runs that line between like
what's a biopic or biopic Right,what's a drama or what's like
kind of a in between, where it'slike writing both lines.
Speaker 1 (04:31):
So like yeah, like like throw some out there, like
what, what sticks out in likeyour life or what you've seen
that like really impacted you.
Movie wise.
Movie and music wise.
Speaker 2 (04:41):
Uh, I mean, I kind of didn't put this in my notes,
but the Bob Dylan retrospectivethat had a bunch of actors
playing him and use differentmusic throughout the entire
movie covered by differentartists of his music, was pretty
(05:02):
impactful.
Speaker 1 (05:02):
Actually this was cool.
Speaker 2 (05:04):
Yeah, this is yeah, go, go ahead.
That was a super cool movie.
I'll need to only to put thename there, like I'll need to
look that up later.
Yeah, yeah, but just every kindof aspect of that and that
again kind of was more of an artfilm exercise, less of a biopic
, more of kind of a like here'swhat Bob Dylan embodies.
Speaker 1 (05:28):
I think what's interesting about that is that
Dylan is one of those artistswhere he's so influential that
part of his biopic is almost thelevel of influence he had.
Right, that's part of his story.
Speaker 2 (05:38):
Right.
Speaker 1 (05:39):
Is that all these artists can come together and
all point to him and say becauseof you, I was able to hear, see
or listen or make something.
Speaker 2 (05:45):
When he has such a mythos around him too, like you
can kind of make stuff up and itwouldn't make sense.
Speaker 1 (05:49):
Yeah.
Speaker 2 (05:51):
You know, like when he got, he got arrested in like
the early 2000s in PortlandMaine, on the side of the road
because someone thought he was ahomeless person and like
thought he was causing troubleor something, and someone took
him in didn't know who he was.
And then like someone finallysaid like oh, this is Bob Dylan,
he's just and he didn't likedispute any of it.
He was just like okay, great,like this is what's happening
(06:13):
right now.
Speaker 1 (06:13):
Yeah, I mean like I can see that happening at Tom
Waits, like being found on atrain, car or something.
Yeah, yeah, yeah, the mythos,mythos element is interesting
too, like, obviously that playsinto the nature and quality of
the movie as it relates to music.
Speaker 2 (06:28):
Yeah, it goes back into the you know eight mile
where, like Marshall Mathers,eminem was building his own
mythos around his kind of cominginto his own story.
But there are plenty of moviesthat don't do that and use music
effectively or as effectivelyas those movies Like I mean we
(06:51):
you and I know about the TrentResner Atticus Ross partnership
on the many, many, manysoundtracks they'd done and
scores they'd done for movies.
I mean there's a laundry listbut yeah, it seems like they
have a certain niche and themovie fits that personality
Right.
Then they are active and ableto go in there and do it.
Speaker 1 (07:12):
It's interesting though it's Trent Resner, it's
not nine inch nails.
Speaker 2 (07:16):
Right, yeah, right, and I like Ross.
Speaker 1 (07:18):
Yeah, yeah, sorry, and so, like they're separate,
separate sounds, right they're.
This composition is similarstylistically to the music in
nine inch nails, but they're notthe same entity.
Speaker 2 (07:33):
They're the same thing but they're not the same
entity.
Kind of acoustic tracks.
I think it's just an exercisethat they used to like kind of
stretch their wings a little bitGotcha, but I mean they're good
at it, yeah so they keepgetting jobs.
Speaker 1 (07:46):
Well, that's the thing, like it's an extension of
their art, their voice andtheir art has more to say than
maybe, than just one band canCan be a channel for right?
Yeah, obviously, thosecompositions and everything like
known and and appreciated.
Speaker 2 (08:00):
And I can empathize with that too.
It's you know if you do thesame thing for 20 or 30 years,
kind of want to do some otherstuff, yeah.
Speaker 1 (08:08):
I, I like, I like.
You mentioned Trent and andleading the nine-inch nails,
because and I know I think youwanted to talk about David Lynch
, but specifically, in Twin.
Peaks the return.
Was it the return from Peaksthe new, obviously the new
series the newest one.
Yeah, I think it was calledTwin Peaks is the return she's
kind of a generic name for.
But whatever it was called,there's a at the end of one of
(08:31):
the episodes there's aperformance by nine inch nails.
Speaker 2 (08:34):
Well, and he was on Lost Highway, yeah, which he
wrote a song for, I think atDavid Lynch's request, okay.
But yeah, those two have alwaysbeen right, intrinsically tied
a little bit and I thinkstylists this.
Speaker 1 (08:46):
That makes so much sense, like there's crossover
there between what's interestingis we're comparing Movies now
or television to music andsaying there's like cross,
there's like a connection.
Yeah.
Speaker 2 (08:59):
Yeah, almost a phantom thread, it's the phantom
threat it's.
Speaker 1 (09:02):
It's a little indescribable, but like you can.
You can kind of like imagine ifnine-inch nails, for instance,
was a movie, right, and Imagineif Twin Peaks was music, if you
play that exercise in your head,you may arrive at the same.
Speaker 2 (09:16):
Yeah and people have actually, I mean done that I
have a covers record of TwinPeaks songs done by other
artists, right?
So it is that medium isappreciated by like artists,
kind of across the board.
Yeah, and to not totally losemy phantom thread segue yes,
johnny Greenwood is also aradiohead, hey, pretty active
(09:38):
Soundtrack score Artist, butPhantom Thread was one of his
like kind of crowningachievements is like, yeah,
scoring, I mean for that movie Ifeel like the score is almost
equally as important as thevisuals for it, okay yeah.
Speaker 1 (09:55):
There are movies like that.
There are TV shows, movies andFilm like, where the music is
like takes a significant portionof the experience.
Yeah for the, for the, for theviewer right or the listener at
the same time.
Speaker 2 (10:09):
Yeah, yeah, I guess like to on that point, like
what's something you've seen, Iguess, in the past that was like
just impactful Because of themusic paired with that visual,
like do you have a kind ofrecollection of something?
Yeah, I, can?
Speaker 1 (10:24):
I can mention something recent like Well, I
guess semi recent, like it's 12years old now, but dry the movie
Drive with Ryan Gosling in 2011.
Iconic yep and I the directorand I think Nicholas was his
name, refin, I can't.
I'll put a correction, but thethe director that movie, I think
, was involved in also theproduction and the music and the
(10:48):
scoring, or however it workedout nevertheless the, the, the.
The movie is a whole like almostdepends on the soundtrack,
right it.
The soundtrack sets the tensionof the car chases, it sets the
mood of the calm before thestorm when, like, bad things
happen.
And it also like the, I guessthe electronics, sort of like
(11:11):
Futuristicness of it, of themusic, the music selected for it
and the dreaminess of it andthe slight, like vapor, wavy
Tendency to it.
I think I might get in troublefor saying that, but like it's a
little bit.
It's a little bit on the roadright, it's a little bit moving
and like it gives this what's anold-school car chase like like
bloody movie, a really violentmovie, like kind of a Modern or
(11:34):
postmodern aesthetic, like thissense of like Dreaminess, and
it's almost like thesecharacters don't know what
they're doing, what's going on,like they're sort of floating in
this Unknown situation,relationship with threats of
violence and everything, andthey're coming to conclusions
and make taking action Sometimesspur of the moment and the
music is right there all thetime, right on that note.
Speaker 2 (11:56):
I think, let's.
Well, to talk about that alittle, bit more.
What do you think about Someother car movies that are
heavily dependent on music?
The new Mad Max, here you're at.
That's more like film scorestyle, right yeah, I mean kind
of, but it's very interactivewith what's going on, right like
(12:18):
in the movie.
Speaker 1 (12:20):
Oh, definitely, definitely, yeah, yeah, if you
watch that movie without thescore, it would like be.
Speaker 2 (12:24):
Unusual.
Speaker 1 (12:25):
I mean, there's a whole character that is a guitar
person exactly on the on asling on a sling on, Literally
on that giant vehicle made ofhuman bones and whatever Twisted
metal and and playing theguitar with the flamethrower
coming out of it right, and funfact Nick Zener of the yeah,
yeah, yeah, yeah, that's a lotof that music.
Oh, really, yeah, that's dope,that's really cool at little
(12:47):
tidbits like that are always,always nice to see, because it's
so.
What do you think of that?
Speaker 2 (12:52):
that aesthetic for the movie.
Do without it or keep it in.
I mean, what's the take there?
Speaker 1 (12:58):
Oh, definitely that that music is in several from
the movie.
I guess, like I mean, I wouldyeah but I'm just kind of
curious.
Speaker 2 (13:05):
Yeah, another one that comes to mind is the Fast
and Furious Saga.
Oh god, Do you think the musicis imperative?
That I don't really know.
I don't think so.
Speaker 1 (13:19):
No, I think the music's there to serve its
purpose and fill the gap thatwould exist without it so it's
mostly about family is what Idon't know.
Speaker 2 (13:27):
The movie is about like hitting that NOS button.
Speaker 1 (13:29):
Yeah, I think for me, like I watched those movies and
I'm like I just want to hitthat button.
That's all I'm thinking about.
The whole time they're talking,they're having drama, there
might be rockets and bazookasnow in that movie.
I think they go to space.
They're in space.
I'm like where's the button?
Hit the button and I want that.
I want that shot of like thegas flowing through the engine
really quick.
Yeah going and exploding in thein the chambers and shooting
(13:52):
out the exhaust.
Speaker 2 (13:53):
Yeah, I want that Well to bring, to bring it back
around.
What about baby driver?
Haven't seen it.
Speaker 1 (13:59):
I didn't see baby driver, I didn't see the sorry.
Speaker 2 (14:01):
Well, I can answer a little bit of this for you.
The timing in that movie isbased entirely on the soundtrack
.
Okay, so the music reallydrives the whole movie.
Literally which is larious yet.
Speaker 1 (14:12):
Okay, that's really cool in that, like the
soundtrack is, the is almost themetronome for the pace of the
movie, exactly.
Speaker 2 (14:18):
Okay, and it's an anger right movie, so it has
that kind of cadence to it.
Speaker 1 (14:22):
Yeah, I know about it .
I actually didn't know thatlittle that fact about it,
though.
That it was driven by that,yeah, but I yeah movie Where's
headphones?
Speaker 2 (14:32):
Okay, so whenever he's driving it's always to the
song, not to whatever'shappening around them.
Speaker 1 (14:37):
Gotcha, I mean.
Yeah, I like, I Like movieslike that, like where the songs
or where the soundtrack is likeso integral to the movie that
without it it would just breakapart and be a fractured idea,
right, yeah, it's hard to reallywrite a movie like that.
I think it comes off as specialor different and a lot of
(14:58):
moviegoers Super into special ordifferent anymore is my
critical.
It would seem so.
Yeah, I mean.
Speaker 2 (15:05):
Again the Edgar Wright thing, like he did do
Scott Scott Pilgrim, yeah whichis like entirely based on music
too, like in the comics that themovies based on there were tab
tablature and like lyricswritten into the comics so you
could like play the songs andlike play along really with the
characters.
(15:25):
And then in the movie it's likeEvery you know second act is a
song or someone doing some sortof musical thing, gotcha.
Speaker 1 (15:34):
Yeah, and like there's, there's directors in
movie and filmmakers who don't Imean who who go that far and do
that, and there's also onesthat don't right.
Right, like Not to behypercritical, but like of like
Marvel movies and all the allthe action hero movies.
I don't think, I don't thinkthe music there Generates as
(15:56):
much attention.
Speaker 2 (15:57):
That's it.
The only ones that stand out tome are the Guardians movies.
Okay because they have so manythrowbacks in there right and
like it's a very Nostalgia.
Speaker 1 (16:06):
Yeah, yeah.
Speaker 2 (16:06):
There's a nostalgia factor with it, but also James
Gunn does that with a lot of hismovies.
I feel like he has a veryparticular soundtrack.
Okay.
Speaker 1 (16:15):
Yeah, the new Spider-Man's, though, and all
that like they don't have.
They have soundtracks that aregreat and professional, because
that's what they hired andthat's what they got, but like
yeah.
Speaker 2 (16:22):
I mean, I don't know, although the spider-verse stuff
to I would disagree a littlebit.
Okay, there is that post Malonesong flowers, which was like
pretty integral to the firstuniverse movie.
But Marvel movies as a whole.
Speaker 1 (16:36):
Okay, yeah.
Speaker 2 (16:36):
No, yeah, I couldn't name like a single song within
those like right guardians andlike the animated spider-man
movies, gotcha, gotcha.
Speaker 1 (16:43):
Yeah, I guess interesting yeah.
Speaker 2 (16:45):
Yeah, but they are very like action movies.
You think there would be amemorable kind of action song?
Speaker 1 (16:51):
Yeah, we're gonna get blown to pieces and smithereens
by commenters for the last 45seconds of comments.
Speaker 2 (16:57):
Yeah, but I love.
Speaker 1 (16:58):
I think that's amazing and we're keeping it
because, like I guess the pointis like call those songs out.
I mean I would like to knowwhat they are they exist and
there's there's always accept,there's always things that slips
through the gaps, there's nohard and fast rules, but we're
trying to get to the generalpoint of like there are
compositions for movies thatthat are not meant to be
(17:19):
Albumized and not meant to be,like, marketed as music.
Yeah, yeah, and I mean I guessyou can people buy soundtracks.
Speaker 2 (17:25):
You did kind of touch on that, though, with like the
Marvel movies, because the mostmemorable ones do have really
impactful songs in them.
Yes, like Iron man.
Speaker 1 (17:34):
Yeah, first one guy.
Well, yeah, yeah.
Speaker 2 (17:38):
But again, that's spider-man movie.
People know that song very well.
Yeah guardians movies.
People know those songs.
Yeah, I mean, like I didn'thear a few of those songs Since
I like had a mix tape of themfrom someone that thought they
were cool songs you know, likedo they sell like For every, for
every new Batman or every new,whatever movie do.
Speaker 1 (17:58):
They sell like an album.
Speaker 2 (18:00):
For the Guardians ones, they put out cassettes.
Speaker 1 (18:02):
Okay, they did sure.
Okay, that was a part of themovie.
They went for Batman, like thenew.
Speaker 2 (18:07):
No, none of the other movies I know of that they put
out.
Yeah, those movies, how havesoundtracks, scores?
Speaker 1 (18:13):
but they didn't buy the score they don't market and
sell the CD Like the score dothat they might.
Speaker 2 (18:21):
I'm not sure if they do right.
I know the Guardians ones.
They did tapes.
That's the best way.
Speaker 1 (18:25):
Yeah, I think that difference is the best way to
describe I think what at leastI'm trying to get at is that
Movies exist where the filmscores are just not meant to be
put on the CD and played in yourcar stereo or listen to like.
They kind of make sense doingthat if you enjoy that style of
music.
But it's not.
It's not common right.
It's that's.
Speaker 2 (18:44):
I mean, there are movies for that and movies, yeah
, and there are movies where,like you, buy the soundtrack the
moment the movie comes out,because it's that good.
Speaker 1 (18:50):
But right there's, there's that whole range of
movies and.
I don't think one's better orworse than the other.
Speaker 2 (18:55):
Like you can have a great movie at either end of the
scale, yeah.
Speaker 1 (19:00):
But it's interesting that scale exists.
Speaker 2 (19:02):
And actually that's a good segue into John Brand, who
I wanted to talk about, who hasscored a number of movies over
the years, most significantlyMagnolia, with a lot of Amy Mann
songs he did.
I Heart Huckabees, where hesings a lot of songs on that.
Speaker 1 (19:21):
Yeah, he wrote his name in movies like Right that
Kill my Heart.
Yeah, I love these.
Speaker 2 (19:24):
Well, he writes killer songs and he produced a
lot of Elliot Smith music too.
He was the one who put togetherthe Elliot Smith tracks after
he passed and made kind of FromBasement on the Hill, and he
produced all of Figure 8, Ithink Okay.
Speaker 1 (19:40):
No spoilers.
At the end of Magnolia, thatmusic that concludes that movie
spectacular Saved me.
I can't remember the exact.
Saved me is the most popularsong.
It's when the thing happens atthe end.
That's shocking and surprising.
Speaker 2 (19:54):
Yeah.
Speaker 1 (19:55):
I don't know spoilers , but like something happens at
the end is shocking.
Surprising, like every movie,but the music at that moment is
on point.
Speaker 2 (20:02):
And he is an example of like someone who.
You could download thatsoundtrack and it would be
equally worthwhile.
Speaker 1 (20:11):
That would be.
It's an album.
Speaker 2 (20:12):
Yeah, yeah.
And he's also kind of a musicalsavant, to where he can compose
things in his head and like hasall these ideas, right?
He actually worked on thelatest movie that Charlie Day
wrote Idiot, I think the idiot.
Speaker 1 (20:28):
Oh, I heard about this.
Speaker 2 (20:30):
I never saw that New comedy that he wrote, which I
thought was.
I mean, I hadn't seen the movie, but I thought that was crazy
that I got him, yeah.
So yeah, John Bryan was someoneto look up and kind of learn
more about, if you don't know.
Speaker 1 (20:44):
Yeah, he's not like the household Hansen rename, but
like no, he's not.
He's probably heard of a moviehe's done or I've seen one, and
then, knowing his name andlooking him up, you bite, oh
damn.
Like, yeah, a lot of this musicis really good, isn't it?
Speaker 2 (20:58):
Yeah, and I'm sure you've heard his music too.
Yeah.
Speaker 1 (21:01):
One time or another.
That's awesome.
I love films at that level ofappreciation where you can
mention them around people whowatch movies and they know kind
of what they are.
You're not getting like superdeep, deep cuts at that point,
Right.
If you do cut deep, just as thequality of film you find
changes.
I think the quality of themusic you find changes right,
(21:24):
Like the more underground you goin movies, in the movie world,
you know things change.
Speaker 2 (21:29):
Yeah Well, I think people tend to spend more budget
on music if they're notspending it on.
Cgi or on like expensive actors.
You tend to have more money todo more creative things with
your external entities, right, I?
Speaker 1 (21:46):
guess at that point.
Yeah, you got to consider, Iguess, in filmmaking, the visual
being the primary expense andconsideration.
Speaker 2 (21:55):
I mean other than actors.
Yeah, yeah, oh yeah.
Speaker 1 (21:59):
Anything visual related, obviously the actors
themselves, actors and actorsand whoever themselves, but like
audio for some productions atcertain budgets will come second
.
Yeah.
Speaker 2 (22:07):
Yeah, that's just a bummer.
I mean about some things.
Speaker 1 (22:10):
But that doesn't mean again like that might lower
your chances of finding thingsthat are what you consider good.
But that doesn't mean therearen't great things that exist
at that low budget, of course.
Speaker 2 (22:19):
It's like, yeah, like , unless you never restrict
yourself based on, likepopularity or budget.
Speaker 1 (22:24):
you never know what you'll find Well and it's not
just movies too, like on TV.
Speaker 2 (22:28):
Yeah, there's a lot of great stuff out there, can we
?
Speaker 1 (22:32):
talk about Twin Peaks again.
Yeah, you don't have to Anyserial like the soap opera
effects, you know, with thedramatic music and the crying.
Speaker 2 (22:40):
Yeah, I mean self a certain moment, or shows that,
yeah, seek out good musicusually end up being better
shows.
I mean, I was Watched Scrubsfor many years and Bill Lawrence
is a big proponent of indieartists and so is Zach Raff on
that show, so there were tons ofsongs on that show that I've
never heard before.
You know, like the choral was aband that was featured that.
Speaker 1 (23:04):
I've never discovered Scrubs was a show for the
people.
I love that.
That was a great show.
Yeah, I mean Shenz were on thatshow.
Speaker 2 (23:09):
They were in Garden State too.
Yeah, they were on that showthat a Colin Hay from Minutwork.
He has like a whole solo career, that's great.
But they just put that inbecause they were like, oh, we
really like this music, right,how can we elevate this stuff
more?
And I mean, twin Peaks isanother example of like people
who care about music.
Speaker 1 (23:30):
Yeah, clearly, clearly like someone who's
invested time and effort intohaving nuance and taste and
certain things and thenaesthetic, going for a style and
nailing it.
As far as selection of artiststo feature, yeah, you could say
no less about you know about, Ithink, twin Peaks.
The return, the music in thatseries and that return of the
(23:52):
original show is exceptionallygood.
Speaker 2 (23:54):
Yeah, and that's all.
David Lynch, you know?
Yeah, he just has an ear for it.
And same thing with BillLawrence or someone any
showrunner who wants to payattention to that kind of thing.
And the interesting thing yousay, like Lynch had an ear for
it.
Speaker 1 (24:10):
And that implies that Lynch has a vision for how his
movies will sound, and weinterpret his whole artistic
vision like we say something'slynching and we're also invoking
what Lynch's like desire was tosound like.
And you can say the same aboutKubrick Like Kubrick had a style
(24:31):
that went beyond his visual.
He had a musical style too,always with the classical,
always with the Strauss, right,right, and he did something that
maybe other people also did,but he made it his own, like he
made it his sort of his.
Speaker 2 (24:45):
Well, that's what art is is taking something that
exists and then making it yourown.
Speaker 1 (24:49):
I think so.
Yeah, I mean, there's a way ofreinterpreting or repositioning
it.
Speaker 2 (24:53):
however, yeah, Because there are
reinterpretations of their stuff.
Now, even Like there's a wholesoundtrack, a reimagined
soundtrack of Rather than gowith, let's keep things piped,
that's better.
So there's a total reimaginingof the shining the Sardis.
(25:15):
The caretaker did a bunch ofdifferent takes on that music
that was played in the ballroom.
I've heard about this.
That's like a whole record.
Speaker 1 (25:23):
Yes, it's like someone rift off of the fact
that that movie had greataudio-visual combination and
then created their own art.
Speaker 2 (25:31):
It took that into their own thing.
Speaker 1 (25:34):
I love how that works .
I love how the steppedwaterfall effect works and where
movies and music intersect, canbe anywhere on that path.
Speaker 2 (25:43):
I think that's how good art happens is when people
take ideas and expand upon them.
You can't if you start fromscratch.
Either you're a genius oryou're living in the dark.
Speaker 1 (25:54):
Let's name drop another one I wanted to mention
the Matrix, a revolutionarymovie for sci-fi and action
movies.
Speaker 2 (26:02):
And still holds up.
Speaker 1 (26:04):
The original you know the best, but anyway that came
out in 99, if you can believe it, 99.
At the end of the movie again,no spoilers there's a Rage
Against the Machine song calledWake Up, which fits very much
the theme of the movie.
But it also proves that theMatrix is not presenting a new
(26:27):
idea.
I mean, it's putting an idea ina very stylistically fresh way
and a conceptually veryinteresting way.
But the idea of Wake the HellUp from your brainwashed
existence, whatever it may be,however you want to define the
story around that like, is notnew.
Speaker 2 (26:48):
It's all tried and all, but it's important.
It's a very important.
Speaker 1 (26:51):
A simple, important idea, and that's why that movie
kicks ass and that's why thatsong kicks ass.
Speaker 2 (26:56):
And why Rage?
Continues to kick ass becausethose songs are all based upon
simple principles too Basic.
Speaker 1 (27:04):
Principles, right.
Principles that sound basic butin reality end up more
complicated than they have to be.
Speaker 2 (27:10):
Yes.
Speaker 1 (27:12):
It's sort of what these things are about, you know
, but the fact that that movieand that song go together so
well is just a.
It is impressive.
Speaker 2 (27:20):
It is impressive.
I forgot that was the outro tothat movie and that was the only
time that any movie in theMatrix series, I think, used
Reggie as a machine.
Speaker 1 (27:29):
They had other artists for their closing
credits.
But yeah, that and it'sinteresting in the movie the
song cuts in before the moviecuts the credit, so there's a
little overlap.
Speaker 2 (27:40):
I feel like that's something that's Interesting and
like people used to catch morewhen they were watching movies
in theaters, and like Less ofthe streaming world Do people
watch?
Speaker 1 (27:53):
the credits anymore.
Speaker 2 (27:56):
Some do.
Speaker 1 (27:57):
Yes, are they weird people.
Speaker 2 (27:59):
I don't know, are you ?
Speaker 1 (28:01):
trying to avoid saying that I am one of those
people.
I do too, sometimes not all thetime.
Speaker 2 (28:06):
So I just saw a new movie, past lives, which I
really enjoyed, and there werethere was a song written by
Sharon Burnett and for the end,credits for that movie, which
was awesome and excellent.
I wish it were in the mainmovie, but it also didn't fit in
the main movie, so like it waswritten for those credits, okay,
(28:30):
and there are a lot of caseswhere that is what happens,
which I think is great.
But it's also interesting, likehow many people are seeing
those and hearing those songs.
That also happened for the D&Dmovie.
Okay, like Chris, people stuckaround Pine and V-Grant and all
them were in, yeah, but they hada very animated credits and it
(28:52):
was very enjoyable to watch,okay, so it was like its own
production, the credits Right,but they had a custom song for
that and everything too, ofcourse, yeah.
Speaker 1 (28:59):
That's cool.
I think doing the credits upthat way almost is a necessity
if you want people to payattention at that moment,
although I do recommend that ifthere is music during the
credits, I'm assuming it's beenselected to help you digest or
integrate what you've just seen,like that few crucial moments
(29:21):
after you watch a movie.
Sometimes it's best not to standup and just go out into the
fluorescent hallway of the movietheaters.
Sit down, let people walk byand just think about it for a
second, and that does seem likewhat it's meant for.
Exactly.
Speaker 2 (29:35):
Is to digest the thing.
Speaker 1 (29:36):
This is music as utility, but also as art.
Right yeah, it's not a purpose,but the music itself goes
beyond the purpose.
It's music.
Speaker 2 (29:46):
Yeah, I just don't think people realize that.
No, they don't, which isunfortunate.
Speaker 1 (29:50):
Yeah, and don't feel guilty if you're one of those
people and I am in many casestoo, and we all are but if you
just think about it a little bitdeeper, sometimes you arrive at
a point where you're like ohyeah, maybe just sit there for a
second and digest, yeah.
Speaker 2 (30:04):
Or just sit down for a second.
Some movies, though, you can'tstand up.
At least for me.
Speaker 1 (30:08):
Some movies I see and I'm like that hit me so hard,
like I'm pretty much groundedfor the next 20 minutes.
Speaker 2 (30:15):
Yeah.
Speaker 1 (30:16):
Definitely need some music for it.
But yeah, oh God, you want tojust completely flip from.
We should flip from likedramatic and ending to like
something to the beginning.
Right, like the beginning of amovie.
Who else?
I mean, you can't not mentionJames Bond, right?
No Talk about openings.
Speaker 2 (30:36):
Like a big theme.
I mean, every person who'sanybody has written for James
Bond Right.
Speaker 1 (30:42):
Opener.
It seems like it.
They're up to like almost 30films now.
Speaker 2 (30:45):
And that's such a cool challenge for an artist too
.
It's like you're writing a songbased on this kind of very
simple melody, but it's soestablished that people
instantly know what it'spertaining to Absolutely.
Speaker 1 (30:58):
I have to mention my favorite right away because I'm
already excited about it, butthe first Daniel Craig Bond
movie 2006,.
Casino Royale, one of myfavorite Bond movies because of
its slow, methodical, lessactiony pace.
Speaker 2 (31:11):
Well, also the very first Bond book.
Oh yes, correct.
Speaker 1 (31:15):
The original Ian Fleming book.
Right, and it was Chris Cornell, not a sound garden, but just
Chris Cornell doing a songcalled you Know my Name, opening
that movie, and it's awesome,like yeah, super cool song, it's
a great song for a person'sperformance and like rest in
peace, like just to have thatcouple minutes of his voice.
Speaker 2 (31:39):
Was that audio slave era when he was doing that too?
Speaker 1 (31:42):
I believe it was audio slave era.
I believe it was audio slaveera, whether the music, I don't
think involved any of the audioslave era?
Speaker 2 (31:50):
No, I don't think so either, but no.
Speaker 1 (31:52):
But I think it was that era that would have been
around the self titled maybe orbecause they had three albums,
yeah, 2006.
Speaker 2 (31:59):
Good man.
Speaker 1 (32:01):
Anyway, for a James Bond movie to feature such a
prominent artist and thenelevate that artist's craft and
voice so high.
I think even I'm sure, did theNew York Times write an article
about how good the song was, orsomething I can't remember.
Speaker 2 (32:14):
I mean they typically get the best of the best for
that yeah.
Like Adele has done one.
Speaker 1 (32:18):
Yes, paul McCartney has done one.
Oh my God, yeah.
Speaker 2 (32:21):
Living Let Die is like one of my favorite ones,
that one lives forever, thatone's amazing.
Yeah.
Speaker 1 (32:26):
I can hear it in my head right now, just because you
mentioned it.
Speaker 2 (32:28):
Yeah, I mean, they're all iconic.
Speaker 1 (32:29):
Yep, and that's music again as a purpose.
But they're not creating scoresfor these opening sequences.
They're asking musicians tocome in and write capital M
music to really be the leadingpart of this whole movie.
Speaker 2 (32:46):
And hilariously.
It is like a very sub-sex ofthe movie, and then the rest of
it doesn't really play intomusic at all, Right right.
Speaker 1 (32:56):
It's almost like an opening sequence that just
primes you but doesn't give youany information about what's to
come, right.
Speaker 2 (33:03):
Yeah.
Speaker 1 (33:03):
Exactly.
Speaker 2 (33:05):
Or sometimes it goes into a little bit of the plot,
but Maybe with the silhouettecharacters sort of.
Yeah, I mean, it's a littlemysterious sometimes.
There's always a bullet.
Speaker 1 (33:12):
I mean that's James Bond, right.
Yeah, that's cool.
And I got to mention anotherone.
I got to mention Wayne's World,yeah, Because I mean like that,
first of all, just I was Alsokind of about music too.
Speaker 2 (33:28):
Yeah, I mean yeah.
Speaker 1 (33:30):
About music nerds, obviously, but the fact that
they have that Bohemian Rhapsodyscene in the car, that's such
an iconic scene and if you're ofour age, like the 30-somethings
now, I think that movie wouldhave hit prime time for you,
right, that was a big one as akid and I remember getting into
Queen because of that BohemianRhapsody scene.
And now Queen, one of myfavorite bands of the classic
(33:53):
rock era.
Speaker 2 (33:53):
Well, and Wayne's Gear Lust or sorry, yeah,
wayne's Gear Lust for Excaliburlike the Strat.
Yeah, I mean Olympic WhiteStrat's are rare in that year.
Speaker 1 (34:03):
And Garth's ability to play amazing drums in his
mind and then like yeah yeah,it's a very like music nerd
movie.
It is.
It's like it perfectlyshowcases.
I think it's a real moviebecause they're not putting the
Wayne and Garth on a pedestalLike they're kind of dummies,
you know, and they're kind ofjust like good-hearted but just
(34:24):
like they're nerds who messed upand they're just in the music,
like they're very realcharacters and I appreciate that
movie for using real music too.
Speaker 2 (34:33):
Yeah, yeah, very, very fun, but relatable?
I think so.
Yeah, and that's another way,like you can take an existing
song and transform it.
Speaker 1 (34:44):
Not actually, no, you can take an existing song and
transform your movie around it,right?
Like that scene of them, likethat scene of them in the car,
you know, having a good time toBohemian Rhapsody, like, really
Like, if you were to just tellthat movie in one scene.
That's pretty much what it is,right.
Speaker 2 (35:04):
And probably how they reverse engineered it, being
like SNL alum improvisers.
They were probably like, oh,people do this in a car, so how
do we make a movie out of thissort of thing?
Kind of like the Blues Brothers.
Speaker 1 (35:16):
Yeah, and Wayne's world originating on an SNL
sketch, has always been of thatlike very SNL-y sort of like
what's the real life take ofthis, like what really happens
here and how can we make itfunny?
Speaker 2 (35:31):
Yeah, it's that same elk where it probably came from,
like two or three scenes thatwere silly and fun like that,
and then just let's build acharacter around that.
Speaker 1 (35:40):
Yeah, I think this is also, if you broaden this, like
movie nerds and music nerds,like A lot of overlap.
A lot of overlap, Like it justgoes hand in hand.
I mean we're not we're notcharting any uncharted
territories here Like, clearly,like music and movies a lot of
overlap, but the way theyoverlap differs so much.
Yeah, Like you have your JamesBond openings, you've got your
(36:01):
Twin Peaks closings and you'vegot all sorts of dynamics in
between right.
Speaker 2 (36:05):
Yeah, and a lot of things to choose from.
You know you kind of have toride the gamut of whatever
movies you want to get into andmusic you want to get into.
On top of that there's like akind of overlap that you know
you might discover new music youlike or new movies you like.
Speaker 1 (36:22):
Based on whatever you're trying to go for, I will
tell you for sure that Daft Punkfans probably saw the
soundtrack for Tron announcedand then probably went and saw
that movie.
Speaker 2 (36:36):
I mean that had to have happened.
People in Daft.
Speaker 1 (36:39):
Punk might not necessarily be into Disney's
Tron franchise.
Speaker 2 (36:45):
Or not even know what Tron is.
Speaker 1 (36:47):
Yeah honestly, that movie was kind of like why are
you guys remaking this?
Does anyone care about TronBottom line?
Great movie, I think actuallypretty good movie, not great
movie.
Great soundtrack, killersoundtrack and perfect for a lot
of those very dynamic andneon-soaked visuals of that
movie.
Speaker 2 (37:07):
Yeah, and Daft Punk is a great band to recruit.
Speaker 1 (37:11):
Famous French duo who were recently on review,
unmasked I mean, I think one ofthem took up Summit for a while
ago, and one has a solo albumnow actually as of this year.
I didn't know that actually.
Speaker 2 (37:26):
Yeah, but yeah, I mean, for years and years and
years they were performing underthe guise of Daft Punk and also
sampling better than anyone wasever doing.
You know, a lot of theirsamples are indiscernible from
like original music, which isinsane to me.
I mean, there's a lot of coolstuff on homework and discovery
(37:48):
where you're just like I thoughtthat was an original song.
Speaker 1 (37:50):
The craftsmanship is unbelievable.
Yeah, and I guess, consideringTron Disney production, they
were going to go to that level.
But what always surprised me isthat they went to that level of
like let's find real musicians,like someone really cutting
edge and really doing somethingcool.
But they went so far as dosomething as cool as Daft Punk.
(38:12):
It's legitimately a cool artistcool group yeah they just are.
They wear helmets, they'reshiny, they do cool things in
their French.
And like, can't get colder thanthat.
But they write great music andthat's the thing that they
really nail that soundtrackreally well.
Speaker 2 (38:28):
Yeah, that fits in their aesthetic and fits in
their wheelhouse.
Speaker 1 (38:31):
Some of those songs are standalone songs too.
Some are very movie-scorey,momentous in that consistent way
rather than like verse, chorus,whatever.
But they do have a couple likebespoke, I think, songs that
stand alone.
That could have been singles orwhatever they could have been.
Speaker 2 (38:46):
Yeah, could have been their own Creation and people
wouldn't have bad and bad and I.
Speaker 1 (38:51):
Yeah, I have a I'll share a childhood memory.
I have a memory of first seeingAmerican Psycho, and as a child
yes, early childhood.
No, I wasn't that young,younger than I probably should
have been, but I'm not of thegeneration of, like the 80s
(39:13):
music that the lead character inthat movie, patrick Bateman,
was famously into.
Speaker 2 (39:17):
We're not of that elk , but I see what you're saying.
You saw it after.
That was like a decade beforeus, I think yeah.
Speaker 1 (39:22):
But the famous scene of Huey Lewis in the news and
the axe.
No spoilers again.
Speaker 2 (39:26):
Great oh slight spoiler you can spoil that one.
Okay, yeah, it's been longenough.
Speaker 1 (39:31):
Yeah, a guy gets pretty sliced up pretty bad with
the axe to Huey Lewis in thenews while lead character lead,
I would not call him aprotagonist.
Lead character of the movie ispsychotic and murderous.
Patrick Bateman, Yep and veryinto that sound Mordoran in the
(39:53):
80s.
But what do you think aboutHuey Lewis in the news?
What do you?
What do you?
What's your honest opinion?
Speaker 2 (39:57):
I think they're a solid pop band.
Yeah, you can listen to it.
Speaker 1 (40:01):
Yeah.
Speaker 2 (40:02):
Yeah, it's not.
Speaker 1 (40:03):
Like seriously.
Speaker 2 (40:04):
Yeah, I mean like yeah, no, seriously, I get a
smile when I listen to it.
It's like if I turned on what'shappening today and like that
came out and be like all right,great, you know it's.
I feel like at the time it waslike if you weren't on to Huey
Lewis in the news, you were inthe Steely Dan.
Okay, I mean, you were like acool, cool guy.
(40:24):
Maybe I don't know.
Speaker 1 (40:27):
Were people happier in the 80s.
Speaker 2 (40:30):
I don't think so.
It just has that.
Speaker 1 (40:33):
It has that very up ring right.
It has that very.
Speaker 2 (40:36):
Yeah, it's got a good good beat to it, it does.
Speaker 1 (40:39):
It's got like sunglasses on, like smiling, and
a convertible driving yeah.
Speaker 2 (40:43):
Yeah, it's like a less goofy Rick Astley Exactly.
Speaker 1 (40:46):
That's hilarious.
Anyway, I like just the varietyof movies.
You can just start namingEverything wanes world to
American psycho.
Have a musical element that'salmost inextricable from the
movie.
Speaker 2 (40:59):
Yeah, not only definable, but like yeah, yeah,
it's not the whole message, butit's a good part of like what it
is, yeah.
Speaker 1 (41:07):
And then there are movies that were and I did a
search earlier and I didn't findanything like that I recognized
immediately or necessarily hadso much interest, but I don't.
There are some movies that haveno soundtrack, specifically
like movies that are designedwithout one.
Speaker 2 (41:26):
Right, yeah, I don't know a lot of those and I didn't
do much research on that.
I thought I had thought there'sa German movie that won the
film festival in Cannes.
Speaker 1 (41:36):
Dusseweisse Band or the White Ribbon it's black and
white, it's a very dry movie,it's very dramatic and it's very
serious.
Speaker 2 (41:45):
But I originally thought it didn't have a
soundtrack.
It sounds very German.
Speaker 1 (41:48):
Yeah, I thought it didn't have a soundtrack and
then I did research and it does.
But I think it was a very lowpart of the movie for my memory,
but it was a very quiet film.
That's the big thing, lots ofsilence, and I think, the
absence of music this is myultimate point the absence of
music is itself, is artistic, Ithink, war movies fall in that
(42:10):
category a lot, where, like,there's not a lot of soundtrack
because it seems wrong.
Speaker 2 (42:15):
Well, no, they want to make it seem unsettling, yes.
And then also the environment.
You're not going to belistening to music Usually.
The only part in war movieswhere there is music is in like
the downtime or the bunkers orwhatever.
Speaker 1 (42:30):
Or the individual one-on-one dying scene Right.
Or like super dramatic yeah,and then this is not a role
always, but you're right, like alot of the time they'll remove
the soundtrack or the music andjust if they're trying to depict
reality, if they're saying thisis as close to as real as we
can make it Right Like stillnessand drama.
Speaker 2 (42:50):
Exactly, I mean, you say it's about saving Private
Ryan, right?
Speaker 1 (42:53):
Some of those moments of musicless silence and just
action or I wouldn't call itaction but just sound effects
and the sound of the movie arevery unsettling.
To have music on that wouldsound like you're trivializing
it.
Speaker 2 (43:09):
Yeah, and it's about the action, it's not about the
sound a bit, although in warmovies too, it's like the sounds
are super impactful becauseit's like a bomb or like the
sound that a plane makes whenit's diving and things like that
.
Speaker 1 (43:26):
So a good example of a movie, a war movie, that
doesn't follow this rubricnecessarily is Apocalypse Now,
with the end by the doors, andthen Right of the Valkyries,
right, right, yes, and a lot ofVietnam war movies follow that
musical tradition.
(43:46):
Yes, I wonder.
I don't know if Apocalypse Nowstarted it.
It very well may have I'm notinformed enough on that
immediately to know if theystarted it.
Speaker 2 (43:56):
But definitely helped make it iconic, because I
associate Creed's Clearwaterrevival with a lot of that sort
of footage.
Speaker 1 (44:05):
But again, that movie , especially the door song
really, because that song inparticular is a different song
from the rest of the door songs.
Right, it's more Homeric, it'sbigger, it's less structured,
it's almost like bluntlyemotional For it to hit in the
again.
No spoilers for the movie, ithit to the right point.
(44:26):
Yeah, it's a good example of awar movie that uses music like
that.
Yeah, definitely yeah butthat's a critical war movie,
right?
There's different types.
Speaker 2 (44:35):
Right, and it's also very dramatic in the way that
it's presenting it.
Yes, like it's not, it's aGonzo movie.
Yeah, definitely yeah, yeah,it's a.
Speaker 1 (44:46):
Gonzo movie it's like it knows what it is.
It does know what it is.
It's not yeah, it's notpurporting to depict reality in
a deceiving way.
It's saying this is not reality, but this is the emotional
reality.
The emotion you feel fromwatching this is similar to an
emotion that may have been feltin real life.
Speaker 2 (45:06):
Right the Gonzo translation.
This is the unreality ofsomeone actually experiencing
this Exactly.
Speaker 1 (45:10):
And then oh, this is a good topic, though, and I call
it the Gonzo translation iswhen you go from depicting
something that gives you theemotion that the real life
person would have had, versusdepicting reality, which may not
give you the same impact,because there's only so much
reality to watching something ona screen.
(45:30):
Right, right, you have toexaggerate, you have to
illustrate, you have to bepainterly to really impact
someone in the right way, in theway that you, as an artist,
want to impact them.
This goes for music, music inmovies and movies, right yeah.
Speaker 2 (45:46):
I really felt that about the movie Old Boy.
Did you ever see that?
No, but I know enough aboutthat.
Yeah.
Yeah, it's very chaotic anddramatic, but it's like someone
going through certain things.
Yeah, this is what they wouldfeel like.
Speaker 1 (46:00):
I got anxious just reading about that movie, so I
did not.
I did not dive into that one.
Speaker 2 (46:04):
It's more disturbing than some of these.
Yeah, it is.
It does have that element to itRight, that's a good.
Speaker 1 (46:11):
Yeah, we didn't even talk about horror movies.
Speaker 2 (46:13):
I mean, we mentioned I think we mentioned the shining
.
Speaker 1 (46:16):
We almost got to Kubrick and the shining.
We did talk about some Kubrick,but horror movies obviously
being a big channel for music, Imean I will speak as a
metalhead a little bit abouthorror.
It's a big part of yeah it isyeah, there is there's stylists.
I mean, I always say to peoplewho don't know anything about
heavy metal, like the best wayto describe heavy metal and what
(46:40):
I guess more specifically, thebest way to describe why people
like heavy metal is to say well,people like horror movies.
Right, no one bats an eye ifsomeone says I like horror
movies.
They're just like oh okay, youprobably like I don't know the
Exorcist and that that's likethe most brutal movie of all
time.
It's a rough one.
Speaker 2 (46:57):
yeah, yeah, but you know what I mean.
Like okay, they're in thehorror movies.
Speaker 1 (46:59):
It's probably not so much of a reaction as other in
heavy metal, because then youassume, people assume.
I guess people have morepresumptions about heavy metal
because they know less about itthan they do about horror movies
, horror movies being moresaturated in pop culture.
Speaker 2 (47:12):
Yeah, and I think horror movies took some time to
come around too Like yeah.
I think that was as acceptable.
Speaker 1 (47:17):
I think it's more now than ever before and more seen
as an art form, like truly anart form rather than, just like
you know, slash, slash yourmovies, which themselves, I'm
going to be honest, are an artform.
Right, yeah, yeah, certainly,until you get to like the real
joke shit, the stuff's an artform.
Yeah until it's jokerified.
Speaker 2 (47:35):
Exactly.
Speaker 1 (47:36):
Even some of the joke .
Shit is funny and good and likean art form.
Speaker 2 (47:39):
So I'm just not going to say anything is not art,
unless it's specifically reallyreally, really dumb.
Yeah.
Speaker 1 (47:46):
You know how I am, but the relation to heavy metal
is important because not only isheavy metal used in actually
some of the movies and horrormovies because it's aggressive
and heavy and distorted Like itfits the aesthetic bill, but
also, like you can write, Ithink.
I think music and horror moviesis used to enhance the horror,
like always, like that's almostalways, the primary Goals what
(48:08):
makes this movie more terrifying.
Right, and Heavy metal has aselection of terrifying songs
and sounds for you to pick from,and I think they just go
hand-to-hand?
Speaker 2 (48:18):
Yeah, no, they do go hand-in-hand.
I mean, I think that's anaccurate observation.
Speaker 1 (48:22):
Yeah, I wonder if it's the same with like sci-fi
or comedy like this comedyalways.
Indie rock is comedy always.
What is?
Speaker 2 (48:29):
it.
I mean, I think there's someelements to that like sci-fi
lends itself to like Some proggyor Dissonant type sounding
music.
Speaker 1 (48:39):
Yeah maybe a little bit.
Speaker 2 (48:40):
It's a comedy does definitely lean towards indie.
Yeah, folksy stuff Makes sense.
Yeah, I mean you definitely canget a.
There's a whole business behindyou know picking music for
movies, so you can get behindsome, some genres for certain
types of movies.
For sure I think so.
Speaker 1 (49:00):
What do you think about?
What do you think about goodold John Williams?
What we got?
Star Wars, jaws, jurassic Park,indiana Jones, yeah, the big
ones right, like without, Idon't know, without his sound,
those movies wouldn't be whatthey are.
Speaker 2 (49:14):
but then again, like yeah, I mean he saved Jaws.
Jaws is one of my favoritemovies and would also be a A
really stupid movie without themusic it would.
If you watch Jaws without music, it is very stupid movie.
Speaker 1 (49:30):
Yeah, I mean, like you can't, I Wish I was, I wish
I was alive when Jaws came outand old enough to see it.
Because talk about the originallike, like a scare the shit out
of you in the movies.
Yeah, like make you, make youchange your behavior in real
life, kind of movie.
Speaker 2 (49:46):
Well, and what a choice to like.
How would you ever think To dothat sort of Meter or tone, for
that thing?
Yeah, a shark doesn't make thatno no and like the water
doesn't do that.
Speaker 1 (49:59):
That's just a scary noise and it seems to fit very
well it does and like the factthat it's the fact that now kids
in the what, when playing inthe water, will play shark and
go.
Dan and Yep and the fact thatthat's just become the sound of
that of being chased by a shark.
Speaker 2 (50:18):
Yeah, I mean, the man knew what he was doing, right
like that's like that's iPodlevel, brilliant, right Like.
Speaker 1 (50:23):
That's like Creating something that sticks forever.
Speaker 2 (50:27):
I mean, doesn't already was paired in Spielberg,
but yeah.
Speaker 1 (50:31):
Yeah, well, great movie even without.
I mean great movie because ofthe movie itself as well.
Speaker 2 (50:36):
Yeah, I mean, if you if you took that script and read
it without any of the directionor Sound, it would probably be
Terrible.
Speaker 1 (50:44):
I think so.
I think I think that was a verysimple idea turned into a very
like compelling movie.
Speaker 2 (50:52):
Yeah, and and not even just simple.
It was a little bit overcomplicated.
Yeah cuz like why they need tobe on that island, like why were
they?
Okay, yeah, some questionsarise yeah yeah, there were just
a lot of Things going on themovie that didn't make a lot of
sense, but you didn't care aboutme.
Speaker 1 (51:06):
That shark was Scary, yeah um, the just a riff on
this movie again, like at theend when when the captain got
eaten.
Speaker 2 (51:17):
Like yeah, people remember that scene.
Speaker 1 (51:19):
Like wow is brutal, but rewatch it, it's like it's
really really.
Speaker 2 (51:25):
Graphic yeah.
Too much like, and also thisshark like, hard to do all that
it looks real like yeah it stillholds up.
Speaker 1 (51:34):
It still holds up.
You can't say the same aboutmovies even older than or
younger than Jaws.
Speaker 2 (51:39):
No, it's true, it's still holds up speaking of Jaws
to like other Big movies likethat.
Speaker 1 (51:45):
You might not think about the music immediately, but
definitely makes an impact.
Speaker 2 (51:49):
I Can't believe you're gonna mention this this
is great.
I mean, trek was a big movie,big book, big movie, everyone's,
everyone's yep, how many arethere?
Speaker 1 (52:01):
five, six, I don't know too many.
Speaker 2 (52:03):
The theatrical release saw that on the
Shakespeare.
Speaker 1 (52:07):
I'm not gonna knock track.
It's it's classic and it's it'san original.
Speaker 2 (52:11):
Yeah, get out of my swamp.
I mean, there's True meaningbehind that, but also just, I
mean talk about the powerhouseof the movie for music and for
acting.
Yes, pretty much everyone inthere is an a gamer at the time.
And then also the entiresoundtrack was a killer
soundtrack.
I Smash mouth.
(52:33):
I Mean that there were.
They did a monkey's cover tooright at the end.
I think that's that song back upin the charts.
And to top it all off, in Trek4, son of the man who wrote the
original Shrek book, jeremy Stee, very accomplished jazz
(52:54):
floutist, was the pan flutist inthat movie and he has this
whole elaborate career that Inever would know about if I
hadn't watched Shrek Links inthe description.
Speaker 1 (53:04):
You're gonna check it out because it's absolutely
worth it.
Straight to Shrek, like we're.
You're going, you're going backin time Some old-school flute
and jazz and it's Shrek related.
He's an awesome flout it's.
Speaker 2 (53:15):
But yeah, I mean that that's awesome.
Yeah, I mean, I don't know whatelse to say about maybe, other
than like people love it.
The soundtrack is great.
No notes, that's it.
That's perfect, that's enough.
Speaker 1 (53:29):
That's all you have to say about Shrek people, yeah,
people know and get out of myswamp.
Anyway, let's wrap it up here.
That was awesome talking aboutmovies and music.
I love the topic and we could.
We missed plenty of names, butwe could go on forever and we
want to hear more from you.
Yes, like talk about, like,comments, what do you, what do
you guys think is like thebiggest and best, like, let's
(53:49):
say, integration of movies andmusic.
Like which?
What?
Speaker 2 (53:51):
what example?
Stands out for you personallylike what hit you the hardest?
Yeah, give us films.
Artists, we want to hear you,want to check it out.
Speaker 1 (53:57):
We need.
We need to refresh our cue forsome watching and listening.
So the more we have from youguys, the better.
Super appreciated also, shrekshout outs Getting the comments,
so for the five or six peopleout there who are into Shrek, we
recommend that you get in touchwith us at 1 800 Shrek o'clock
and Shrek o44 and we'll chat itout, shrek.
Speaker 2 (54:19):
Oh, we need to make it.
Oh, we have to say like andsubscribe, right we need to make
a member for this too, oh yeah,well, coming soon and sounds
like is a voicemail feature.
Speaker 1 (54:28):
You can leave us voicemails and we will listen to
them.
I'm I'm worried Because I knowwhat, I know what I would do.
You know, yeah, I know what Iwould do.
Speaker 2 (54:37):
I know what I might do talk about Shrek.
Yeah like a 15.
Speaker 1 (54:42):
Yeah, we're gonna have it like a 15 minute for
like a 30 second cutoff on thisvoicemail I think yeah, maybe
not, we'll see what happens wedefinitely want you to like
subscribe Whatever you can do tofollow us.
Speaker 2 (54:54):
Get notifications about new episodes, yep, sound
sagas on Facebook and Instagramand a dot com and dot com.
We're at dot com.
Yeah, read the blog, we'regonna keep writing it.
Yeah, we have a blue Yep, andyou know, like and subscribe,
smash it, I think so All right,we'll catch you guys.
Speaker 1 (55:12):
Next one, peace.
Alright, welcome to a new episode of Sound Slog, as
we're here to talk about musicin movies.
I mean, how could you talkabout one without the other?
It's kind of hard, but our goalhere is to explore all the
dynamics around putting sound tomovie.
(00:37):
Putting sound to film.
Sound that doesn't exist in thenarrative of the film is sound
that's added later to create aneffect.
Or maybe the movie is writtenaround the sound, or maybe the
movie is about music.
Speaker 2 (00:50):
These things are all possible.
Speaker 1 (00:53):
There's a lot of depth and interesting concepts
to this topic that we want toexplore.
By no means are we going to becomprehensive in just one hour.
Just two guys.
Speaker 2 (01:04):
There are tons of sounds, soundtracks, scores,
fully work to talk about.
Speaker 1 (01:11):
I think so we're definitely interested in.
While I speak for myself, I'mdefinitely interested in bands
that write soundtracks formovies.
Daft Punk wrote the soundtrackfor Tron Legacy, right, but
there's composers who aren't inbands.
I think you said in an earliertake of this episode you said
that John Williams does not havea rock band.
Speaker 2 (01:34):
True that.
Speaker 1 (01:34):
He's a composer.
Speaker 2 (01:37):
Unless he does, then we'd like to know about it,
Unless we're severely wrong andthen we'll put something on the
screen that says oops.
I mean, I seriously doubt JohnWilliams is a rock band.
I seriously doubt it too.
Speaker 1 (01:47):
The point remains they are composers that write
music for movies.
I think people know there's adifference between that and then
a band, who then is eithercontracted to score a movie or a
band whose existing songs arethen used to soundtrack a movie.
Speaker 2 (02:03):
Yeah, I mean, there's a market difference.
Absolutely.
When we're talking about who'swriting for what, you have to
come back to what the band ispassionate about, what the movie
is about.
There are a lot of factorsleading up to a band wanting to
do music for a movie, right.
Speaker 1 (02:26):
Does it fit with the band's artistic style or
aesthetic?
Even yeah, Does it make sensefor the band to be associated
with this kind of project?
Right?
So there's a filter there andit doesn't always work out that
a band would be appropriate fora certain movie.
Speaker 2 (02:39):
Right, and I think there's more control on the band
side.
Now too, of like, do I want todo this or is this right for our
music?
Speaker 1 (02:46):
But some movies aren't written or even
considered as needing a band.
They're written and expected tohave compositions from
composers like Hans Zimmer, forinstance.
Right yeah, I wonder if thatchanges, like how movies are
conceptualized and written inthe early stages, like will we
have band music or will we havecomposing music, right, I mean,
(03:08):
I'm sure it does, and one of ourkind of examples we looked up
to was 2001,.
Speaker 2 (03:13):
Space Odyssey Right, I mean that originally had a
score for it that wascommissioned by Kubrick.
They ended up not going withthat, they went with classical
music, which is also a theme inhis other movies, right.
So I mean you can kind of startwith something, end up
somewhere and not know you knowwhere you're going the entire
(03:34):
time.
It just works, feels right.
It's the right decision for thecreative project.
Speaker 1 (03:41):
Yeah, that's right and like.
Part of what we want to discussis, like some of our some
examples of our like favorite,our favorite dynamics between
movie, movies and music.
Right, like examples where themusic's obviously good, the
movie's probably good, but wherethe dynamics are interesting.
Right, like, for instance I'lltalk later about Eight Mile.
Like Eminem, like not only washe the artist of the music the
(04:03):
movie was about, he was the leadactor playing himself in the
movie, about his music and hislife.
Speaker 2 (04:09):
Right.
Speaker 1 (04:10):
And that happened every time with movies like
Bohemian Rhapsody, which had anactor play Freddie Mercury,
obviously Freddie Mercury notbeing alive, unable to play
himself, but in any case he wasnot himself in the movie.
Speaker 2 (04:21):
Yeah, and it kind of runs that line between like
what's a biopic or biopic Right,what's a drama or what's like
kind of a in between, where it'slike writing both lines.
Speaker 1 (04:31):
So like yeah, like like throw some out there, like
what, what sticks out in likeyour life or what you've seen
that like really impacted you.
Movie wise.
Movie and music wise.
Speaker 2 (04:41):
Uh, I mean, I kind of didn't put this in my notes,
but the Bob Dylan retrospectivethat had a bunch of actors
playing him and use differentmusic throughout the entire
movie covered by differentartists of his music, was pretty
(05:02):
impactful.
Speaker 1 (05:02):
Actually this was cool.
Speaker 2 (05:04):
Yeah, this is yeah, go, go ahead.
That was a super cool movie.
I'll need to only to put thename there, like I'll need to
look that up later.
Yeah, yeah, but just every kindof aspect of that and that
again kind of was more of an artfilm exercise, less of a biopic
, more of kind of a like here'swhat Bob Dylan embodies.
Speaker 1 (05:28):
I think what's interesting about that is that
Dylan is one of those artistswhere he's so influential that
part of his biopic is almost thelevel of influence he had.
Right, that's part of his story.
Speaker 2 (05:38):
Right.
Speaker 1 (05:39):
Is that all these artists can come together and
all point to him and say becauseof you, I was able to hear, see
or listen or make something.
Speaker 2 (05:45):
When he has such a mythos around him too, like you
can kind of make stuff up and itwouldn't make sense.
Speaker 1 (05:49):
Yeah.
Speaker 2 (05:51):
You know, like when he got, he got arrested in like
the early 2000s in PortlandMaine, on the side of the road
because someone thought he was ahomeless person and like
thought he was causing troubleor something, and someone took
him in didn't know who he was.
And then like someone finallysaid like oh, this is Bob Dylan,
he's just and he didn't likedispute any of it.
He was just like okay, great,like this is what's happening
(06:13):
right now.
Speaker 1 (06:13):
Yeah, I mean like I can see that happening at Tom
Waits, like being found on atrain, car or something.
Yeah, yeah, yeah, the mythos,mythos element is interesting
too, like, obviously that playsinto the nature and quality of
the movie as it relates to music.
Speaker 2 (06:28):
Yeah, it goes back into the you know eight mile
where, like Marshall Mathers,eminem was building his own
mythos around his kind of cominginto his own story.
But there are plenty of moviesthat don't do that and use music
effectively or as effectivelyas those movies Like I mean we
(06:51):
you and I know about the TrentResner Atticus Ross partnership
on the many, many, manysoundtracks they'd done and
scores they'd done for movies.
I mean there's a laundry listbut yeah, it seems like they
have a certain niche and themovie fits that personality
Right.
Then they are active and ableto go in there and do it.
Speaker 1 (07:12):
It's interesting though it's Trent Resner, it's
not nine inch nails.
Speaker 2 (07:16):
Right, yeah, right, and I like Ross.
Speaker 1 (07:18):
Yeah, yeah, sorry, and so, like they're separate,
separate sounds, right they're.
This composition is similarstylistically to the music in
nine inch nails, but they're notthe same entity.
Speaker 2 (07:33):
They're the same thing but they're not the same
entity.
Kind of acoustic tracks.
I think it's just an exercisethat they used to like kind of
stretch their wings a little bitGotcha, but I mean they're good
at it, yeah so they keepgetting jobs.
Speaker 1 (07:46):
Well, that's the thing, like it's an extension of
their art, their voice andtheir art has more to say than
maybe, than just one band canCan be a channel for right?
Yeah, obviously, thosecompositions and everything like
known and and appreciated.
Speaker 2 (08:00):
And I can empathize with that too.
It's you know if you do thesame thing for 20 or 30 years,
kind of want to do some otherstuff, yeah.
Speaker 1 (08:08):
I, I like, I like.
You mentioned Trent and andleading the nine-inch nails,
because and I know I think youwanted to talk about David Lynch
, but specifically, in Twin.
Peaks the return.
Was it the return from Peaksthe new, obviously the new
series the newest one.
Yeah, I think it was calledTwin Peaks is the return she's
kind of a generic name for.
But whatever it was called,there's a at the end of one of
(08:31):
the episodes there's aperformance by nine inch nails.
Speaker 2 (08:34):
Well, and he was on Lost Highway, yeah, which he
wrote a song for, I think atDavid Lynch's request, okay.
But yeah, those two have alwaysbeen right, intrinsically tied
a little bit and I thinkstylists this.
Speaker 1 (08:46):
That makes so much sense, like there's crossover
there between what's interestingis we're comparing Movies now
or television to music andsaying there's like cross,
there's like a connection.
Yeah.
Speaker 2 (08:59):
Yeah, almost a phantom thread, it's the phantom
threat it's.
Speaker 1 (09:02):
It's a little indescribable, but like you can.
You can kind of like imagine ifnine-inch nails, for instance,
was a movie, right, and Imagineif Twin Peaks was music, if you
play that exercise in your head,you may arrive at the same.
Speaker 2 (09:16):
Yeah and people have actually, I mean done that I
have a covers record of TwinPeaks songs done by other
artists, right?
So it is that medium isappreciated by like artists,
kind of across the board.
Yeah, and to not totally losemy phantom thread segue yes,
johnny Greenwood is also aradiohead, hey, pretty active
(09:38):
Soundtrack score Artist, butPhantom Thread was one of his
like kind of crowningachievements is like, yeah,
scoring, I mean for that movie Ifeel like the score is almost
equally as important as thevisuals for it, okay yeah.
Speaker 1 (09:55):
There are movies like that.
There are TV shows, movies andFilm like, where the music is
like takes a significant portionof the experience.
Yeah for the, for the, for theviewer right or the listener at
the same time.
Speaker 2 (10:09):
Yeah, yeah, I guess like to on that point, like
what's something you've seen, Iguess, in the past that was like
just impactful Because of themusic paired with that visual,
like do you have a kind ofrecollection of something?
Yeah, I, can?
Speaker 1 (10:24):
I can mention something recent like Well, I
guess semi recent, like it's 12years old now, but dry the movie
Drive with Ryan Gosling in 2011.
Iconic yep and I the directorand I think Nicholas was his
name, refin, I can't.
I'll put a correction, but thethe director that movie, I think
, was involved in also theproduction and the music and the
(10:48):
scoring, or however it workedout nevertheless the, the, the.
The movie is a whole like almostdepends on the soundtrack,
right it.
The soundtrack sets the tensionof the car chases, it sets the
mood of the calm before thestorm when, like, bad things
happen.
And it also like the, I guessthe electronics, sort of like
(11:11):
Futuristicness of it, of themusic, the music selected for it
and the dreaminess of it andthe slight, like vapor, wavy
Tendency to it.
I think I might get in troublefor saying that, but like it's a
little bit.
It's a little bit on the roadright, it's a little bit moving
and like it gives this what's anold-school car chase like like
bloody movie, a really violentmovie, like kind of a Modern or
(11:34):
postmodern aesthetic, like thissense of like Dreaminess, and
it's almost like thesecharacters don't know what
they're doing, what's going on,like they're sort of floating in
this Unknown situation,relationship with threats of
violence and everything, andthey're coming to conclusions
and make taking action Sometimesspur of the moment and the
music is right there all thetime, right on that note.
Speaker 2 (11:56):
I think, let's.
Well, to talk about that alittle, bit more.
What do you think about Someother car movies that are
heavily dependent on music?
The new Mad Max, here you're at.
That's more like film scorestyle, right yeah, I mean kind
of, but it's very interactivewith what's going on, right like
(12:18):
in the movie.
Speaker 1 (12:20):
Oh, definitely, definitely, yeah, yeah, if you
watch that movie without thescore, it would like be.
Speaker 2 (12:24):
Unusual.
Speaker 1 (12:25):
I mean, there's a whole character that is a guitar
person exactly on the on asling on a sling on, Literally
on that giant vehicle made ofhuman bones and whatever Twisted
metal and and playing theguitar with the flamethrower
coming out of it right, and funfact Nick Zener of the yeah,
yeah, yeah, yeah, that's a lotof that music.
Oh, really, yeah, that's dope,that's really cool at little
(12:47):
tidbits like that are always,always nice to see, because it's
so.
What do you think of that?
Speaker 2 (12:52):
that aesthetic for the movie.
Do without it or keep it in.
I mean, what's the take there?
Speaker 1 (12:58):
Oh, definitely that that music is in several from
the movie.
I guess, like I mean, I wouldyeah but I'm just kind of
curious.
Speaker 2 (13:05):
Yeah, another one that comes to mind is the Fast
and Furious Saga.
Oh god, Do you think the musicis imperative?
That I don't really know.
I don't think so.
Speaker 1 (13:19):
No, I think the music's there to serve its
purpose and fill the gap thatwould exist without it so it's
mostly about family is what Idon't know.
Speaker 2 (13:27):
The movie is about like hitting that NOS button.
Speaker 1 (13:29):
Yeah, I think for me, like I watched those movies and
I'm like I just want to hitthat button.
That's all I'm thinking about.
The whole time they're talking,they're having drama, there
might be rockets and bazookasnow in that movie.
I think they go to space.
They're in space.
I'm like where's the button?
Hit the button and I want that.
I want that shot of like thegas flowing through the engine
really quick.
Yeah going and exploding in thein the chambers and shooting
(13:52):
out the exhaust.
Speaker 2 (13:53):
Yeah, I want that Well to bring, to bring it back
around.
What about baby driver?
Haven't seen it.
Speaker 1 (13:59):
I didn't see baby driver, I didn't see the sorry.
Speaker 2 (14:01):
Well, I can answer a little bit of this for you.
The timing in that movie isbased entirely on the soundtrack
.
Okay, so the music reallydrives the whole movie.
Literally which is larious yet.
Speaker 1 (14:12):
Okay, that's really cool in that, like the
soundtrack is, the is almost themetronome for the pace of the
movie, exactly.
Speaker 2 (14:18):
Okay, and it's an anger right movie, so it has
that kind of cadence to it.
Speaker 1 (14:22):
Yeah, I know about it .
I actually didn't know thatlittle that fact about it,
though.
That it was driven by that,yeah, but I yeah movie Where's
headphones?
Speaker 2 (14:32):
Okay, so whenever he's driving it's always to the
song, not to whatever'shappening around them.
Speaker 1 (14:37):
Gotcha, I mean.
Yeah, I like, I Like movieslike that, like where the songs
or where the soundtrack is likeso integral to the movie that
without it it would just breakapart and be a fractured idea,
right, yeah, it's hard to reallywrite a movie like that.
I think it comes off as specialor different and a lot of
(14:58):
moviegoers Super into special ordifferent anymore is my
critical.
It would seem so.
Yeah, I mean.
Speaker 2 (15:05):
Again the Edgar Wright thing, like he did do
Scott Scott Pilgrim, yeah whichis like entirely based on music
too, like in the comics that themovies based on there were tab
tablature and like lyricswritten into the comics so you
could like play the songs andlike play along really with the
characters.
(15:25):
And then in the movie it's likeEvery you know second act is a
song or someone doing some sortof musical thing, gotcha.
Speaker 1 (15:34):
Yeah, and like there's, there's directors in
movie and filmmakers who don't Imean who who go that far and do
that, and there's also onesthat don't right.
Right, like Not to behypercritical, but like of like
Marvel movies and all the allthe action hero movies.
I don't think, I don't thinkthe music there Generates as
(15:56):
much attention.
Speaker 2 (15:57):
That's it.
The only ones that stand out tome are the Guardians movies.
Okay because they have so manythrowbacks in there right and
like it's a very Nostalgia.
Speaker 1 (16:06):
Yeah, yeah.
Speaker 2 (16:06):
There's a nostalgia factor with it, but also James
Gunn does that with a lot of hismovies.
I feel like he has a veryparticular soundtrack.
Okay.
Speaker 1 (16:15):
Yeah, the new Spider-Man's, though, and all
that like they don't have.
They have soundtracks that aregreat and professional, because
that's what they hired andthat's what they got, but like
yeah.
Speaker 2 (16:22):
I mean, I don't know, although the spider-verse stuff
to I would disagree a littlebit.
Okay, there is that post Malonesong flowers, which was like
pretty integral to the firstuniverse movie.
But Marvel movies as a whole.
Speaker 1 (16:36):
Okay, yeah.
Speaker 2 (16:36):
No, yeah, I couldn't name like a single song within
those like right guardians andlike the animated spider-man
movies, gotcha, gotcha.
Speaker 1 (16:43):
Yeah, I guess interesting yeah.
Speaker 2 (16:45):
Yeah, but they are very like action movies.
You think there would be amemorable kind of action song?
Speaker 1 (16:51):
Yeah, we're gonna get blown to pieces and smithereens
by commenters for the last 45seconds of comments.
Speaker 2 (16:57):
Yeah, but I love.
Speaker 1 (16:58):
I think that's amazing and we're keeping it
because, like I guess the pointis like call those songs out.
I mean I would like to knowwhat they are they exist and
there's there's always accept,there's always things that slips
through the gaps, there's nohard and fast rules, but we're
trying to get to the generalpoint of like there are
compositions for movies thatthat are not meant to be
(17:19):
Albumized and not meant to be,like, marketed as music.
Yeah, yeah, and I mean I guessyou can people buy soundtracks.
Speaker 2 (17:25):
You did kind of touch on that, though, with like the
Marvel movies, because the mostmemorable ones do have really
impactful songs in them.
Yes, like Iron man.
Speaker 1 (17:34):
Yeah, first one guy.
Well, yeah, yeah.
Speaker 2 (17:38):
But again, that's spider-man movie.
People know that song very well.
Yeah guardians movies.
People know those songs.
Yeah, I mean, like I didn'thear a few of those songs Since
I like had a mix tape of themfrom someone that thought they
were cool songs you know, likedo they sell like For every, for
every new Batman or every new,whatever movie do.
Speaker 1 (17:58):
They sell like an album.
Speaker 2 (18:00):
For the Guardians ones, they put out cassettes.
Speaker 1 (18:02):
Okay, they did sure.
Okay, that was a part of themovie.
They went for Batman, like thenew.
Speaker 2 (18:07):
No, none of the other movies I know of that they put
out.
Yeah, those movies, how havesoundtracks, scores?
Speaker 1 (18:13):
but they didn't buy the score they don't market and
sell the CD Like the score dothat they might.
Speaker 2 (18:21):
I'm not sure if they do right.
I know the Guardians ones.
They did tapes.
That's the best way.
Speaker 1 (18:25):
Yeah, I think that difference is the best way to
describe I think what at leastI'm trying to get at is that
Movies exist where the filmscores are just not meant to be
put on the CD and played in yourcar stereo or listen to like.
They kind of make sense doingthat if you enjoy that style of
music.
But it's not.
It's not common right.
It's that's.
Speaker 2 (18:44):
I mean, there are movies for that and movies, yeah
, and there are movies where,like you, buy the soundtrack the
moment the movie comes out,because it's that good.
Speaker 1 (18:50):
But right there's, there's that whole range of
movies and.
I don't think one's better orworse than the other.
Speaker 2 (18:55):
Like you can have a great movie at either end of the
scale, yeah.
Speaker 1 (19:00):
But it's interesting that scale exists.
Speaker 2 (19:02):
And actually that's a good segue into John Brand, who
I wanted to talk about, who hasscored a number of movies over
the years, most significantlyMagnolia, with a lot of Amy Mann
songs he did.
I Heart Huckabees, where hesings a lot of songs on that.
Speaker 1 (19:21):
Yeah, he wrote his name in movies like Right that
Kill my Heart.
Yeah, I love these.
Speaker 2 (19:24):
Well, he writes killer songs and he produced a
lot of Elliot Smith music too.
He was the one who put togetherthe Elliot Smith tracks after
he passed and made kind of FromBasement on the Hill, and he
produced all of Figure 8, Ithink Okay.
Speaker 1 (19:40):
No spoilers.
At the end of Magnolia, thatmusic that concludes that movie
spectacular Saved me.
I can't remember the exact.
Saved me is the most popularsong.
It's when the thing happens atthe end.
That's shocking and surprising.
Speaker 2 (19:54):
Yeah.
Speaker 1 (19:55):
I don't know spoilers , but like something happens at
the end is shocking.
Surprising, like every movie,but the music at that moment is
on point.
Speaker 2 (20:02):
And he is an example of like someone who.
You could download thatsoundtrack and it would be
equally worthwhile.
Speaker 1 (20:11):
That would be.
It's an album.
Speaker 2 (20:12):
Yeah, yeah.
And he's also kind of a musicalsavant, to where he can compose
things in his head and like hasall these ideas, right?
He actually worked on thelatest movie that Charlie Day
wrote Idiot, I think the idiot.
Speaker 1 (20:28):
Oh, I heard about this.
Speaker 2 (20:30):
I never saw that New comedy that he wrote, which I
thought was.
I mean, I hadn't seen the movie, but I thought that was crazy
that I got him, yeah.
So yeah, John Bryan was someoneto look up and kind of learn
more about, if you don't know.
Speaker 1 (20:44):
Yeah, he's not like the household Hansen rename, but
like no, he's not.
He's probably heard of a moviehe's done or I've seen one, and
then, knowing his name andlooking him up, you bite, oh
damn.
Like, yeah, a lot of this musicis really good, isn't it?
Speaker 2 (20:58):
Yeah, and I'm sure you've heard his music too.
Yeah.
Speaker 1 (21:01):
One time or another.
That's awesome.
I love films at that level ofappreciation where you can
mention them around people whowatch movies and they know kind
of what they are.
You're not getting like superdeep, deep cuts at that point,
Right.
If you do cut deep, just as thequality of film you find
changes.
I think the quality of themusic you find changes right,
(21:24):
Like the more underground you goin movies, in the movie world,
you know things change.
Speaker 2 (21:29):
Yeah Well, I think people tend to spend more budget
on music if they're notspending it on.
Cgi or on like expensive actors.
You tend to have more money todo more creative things with
your external entities, right, I?
Speaker 1 (21:46):
guess at that point.
Yeah, you got to consider, Iguess, in filmmaking, the visual
being the primary expense andconsideration.
Speaker 2 (21:55):
I mean other than actors.
Yeah, yeah, oh yeah.
Speaker 1 (21:59):
Anything visual related, obviously the actors
themselves, actors and actorsand whoever themselves, but like
audio for some productions atcertain budgets will come second
.
Yeah.
Speaker 2 (22:07):
Yeah, that's just a bummer.
I mean about some things.
Speaker 1 (22:10):
But that doesn't mean again like that might lower
your chances of finding thingsthat are what you consider good.
But that doesn't mean therearen't great things that exist
at that low budget, of course.
Speaker 2 (22:19):
It's like, yeah, like , unless you never restrict
yourself based on, likepopularity or budget.
Speaker 1 (22:24):
you never know what you'll find Well and it's not
just movies too, like on TV.
Speaker 2 (22:28):
Yeah, there's a lot of great stuff out there, can we
?
Speaker 1 (22:32):
talk about Twin Peaks again.
Yeah, you don't have to Anyserial like the soap opera
effects, you know, with thedramatic music and the crying.
Speaker 2 (22:40):
Yeah, I mean self a certain moment, or shows that,
yeah, seek out good musicusually end up being better
shows.
I mean, I was Watched Scrubsfor many years and Bill Lawrence
is a big proponent of indieartists and so is Zach Raff on
that show, so there were tons ofsongs on that show that I've
never heard before.
You know, like the choral was aband that was featured that.
Speaker 1 (23:04):
I've never discovered Scrubs was a show for the
people.
I love that.
That was a great show.
Yeah, I mean Shenz were on thatshow.
Speaker 2 (23:09):
They were in Garden State too.
Yeah, they were on that showthat a Colin Hay from Minutwork.
He has like a whole solo career, that's great.
But they just put that inbecause they were like, oh, we
really like this music, right,how can we elevate this stuff
more?
And I mean, twin Peaks isanother example of like people
who care about music.
Speaker 1 (23:30):
Yeah, clearly, clearly like someone who's
invested time and effort intohaving nuance and taste and
certain things and thenaesthetic, going for a style and
nailing it.
As far as selection of artiststo feature, yeah, you could say
no less about you know about, Ithink, twin Peaks.
The return, the music in thatseries and that return of the
(23:52):
original show is exceptionallygood.
Speaker 2 (23:54):
Yeah, and that's all.
David Lynch, you know?
Yeah, he just has an ear for it.
And same thing with BillLawrence or someone any
showrunner who wants to payattention to that kind of thing.
And the interesting thing yousay, like Lynch had an ear for
it.
Speaker 1 (24:10):
And that implies that Lynch has a vision for how his
movies will sound, and weinterpret his whole artistic
vision like we say something'slynching and we're also invoking
what Lynch's like desire was tosound like.
And you can say the same aboutKubrick Like Kubrick had a style
(24:31):
that went beyond his visual.
He had a musical style too,always with the classical,
always with the Strauss, right,right, and he did something that
maybe other people also did,but he made it his own, like he
made it his sort of his.
Speaker 2 (24:45):
Well, that's what art is is taking something that
exists and then making it yourown.
Speaker 1 (24:49):
I think so.
Yeah, I mean, there's a way ofreinterpreting or repositioning
it.
Speaker 2 (24:53):
however, yeah, Because there are
reinterpretations of their stuff.
Now, even Like there's a wholesoundtrack, a reimagined
soundtrack of Rather than gowith, let's keep things piped,
that's better.
So there's a total reimaginingof the shining the Sardis.
(25:15):
The caretaker did a bunch ofdifferent takes on that music
that was played in the ballroom.
I've heard about this.
That's like a whole record.
Speaker 1 (25:23):
Yes, it's like someone rift off of the fact
that that movie had greataudio-visual combination and
then created their own art.
Speaker 2 (25:31):
It took that into their own thing.
Speaker 1 (25:34):
I love how that works .
I love how the steppedwaterfall effect works and where
movies and music intersect, canbe anywhere on that path.
Speaker 2 (25:43):
I think that's how good art happens is when people
take ideas and expand upon them.
You can't if you start fromscratch.
Either you're a genius oryou're living in the dark.
Speaker 1 (25:54):
Let's name drop another one I wanted to mention
the Matrix, a revolutionarymovie for sci-fi and action
movies.
Speaker 2 (26:02):
And still holds up.
Speaker 1 (26:04):
The original you know the best, but anyway that came
out in 99, if you can believe it, 99.
At the end of the movie again,no spoilers there's a Rage
Against the Machine song calledWake Up, which fits very much
the theme of the movie.
But it also proves that theMatrix is not presenting a new
(26:27):
idea.
I mean, it's putting an idea ina very stylistically fresh way
and a conceptually veryinteresting way.
But the idea of Wake the HellUp from your brainwashed
existence, whatever it may be,however you want to define the
story around that like, is notnew.
Speaker 2 (26:48):
It's all tried and all, but it's important.
It's a very important.
Speaker 1 (26:51):
A simple, important idea, and that's why that movie
kicks ass and that's why thatsong kicks ass.
Speaker 2 (26:56):
And why Rage?
Continues to kick ass becausethose songs are all based upon
simple principles too Basic.
Speaker 1 (27:04):
Principles, right.
Principles that sound basic butin reality end up more
complicated than they have to be.
Speaker 2 (27:10):
Yes.
Speaker 1 (27:12):
It's sort of what these things are about, you know
, but the fact that that movieand that song go together so
well is just a.
It is impressive.
Speaker 2 (27:20):
It is impressive.
I forgot that was the outro tothat movie and that was the only
time that any movie in theMatrix series, I think, used
Reggie as a machine.
Speaker 1 (27:29):
They had other artists for their closing
credits.
But yeah, that and it'sinteresting in the movie the
song cuts in before the moviecuts the credit, so there's a
little overlap.
Speaker 2 (27:40):
I feel like that's something that's Interesting and
like people used to catch morewhen they were watching movies
in theaters, and like Less ofthe streaming world Do people
watch?
Speaker 1 (27:53):
the credits anymore.
Speaker 2 (27:56):
Some do.
Speaker 1 (27:57):
Yes, are they weird people.
Speaker 2 (27:59):
I don't know, are you ?
Speaker 1 (28:01):
trying to avoid saying that I am one of those
people.
I do too, sometimes not all thetime.
Speaker 2 (28:06):
So I just saw a new movie, past lives, which I
really enjoyed, and there werethere was a song written by
Sharon Burnett and for the end,credits for that movie, which
was awesome and excellent.
I wish it were in the mainmovie, but it also didn't fit in
the main movie, so like it waswritten for those credits, okay,
(28:30):
and there are a lot of caseswhere that is what happens,
which I think is great.
But it's also interesting, likehow many people are seeing
those and hearing those songs.
That also happened for the D&Dmovie.
Okay, like Chris, people stuckaround Pine and V-Grant and all
them were in, yeah, but they hada very animated credits and it
(28:52):
was very enjoyable to watch,okay, so it was like its own
production, the credits Right,but they had a custom song for
that and everything too, ofcourse, yeah.
Speaker 1 (28:59):
That's cool.
I think doing the credits upthat way almost is a necessity
if you want people to payattention at that moment,
although I do recommend that ifthere is music during the
credits, I'm assuming it's beenselected to help you digest or
integrate what you've just seen,like that few crucial moments
(29:21):
after you watch a movie.
Sometimes it's best not to standup and just go out into the
fluorescent hallway of the movietheaters.
Sit down, let people walk byand just think about it for a
second, and that does seem likewhat it's meant for.
Exactly.
Speaker 2 (29:35):
Is to digest the thing.
Speaker 1 (29:36):
This is music as utility, but also as art.
Right yeah, it's not a purpose,but the music itself goes
beyond the purpose.
It's music.
Speaker 2 (29:46):
Yeah, I just don't think people realize that.
No, they don't, which isunfortunate.
Speaker 1 (29:50):
Yeah, and don't feel guilty if you're one of those
people and I am in many casestoo, and we all are but if you
just think about it a little bitdeeper, sometimes you arrive at
a point where you're like ohyeah, maybe just sit there for a
second and digest, yeah.
Speaker 2 (30:04):
Or just sit down for a second.
Some movies, though, you can'tstand up.
At least for me.
Speaker 1 (30:08):
Some movies I see and I'm like that hit me so hard,
like I'm pretty much groundedfor the next 20 minutes.
Speaker 2 (30:15):
Yeah.
Speaker 1 (30:16):
Definitely need some music for it.
But yeah, oh God, you want tojust completely flip from.
We should flip from likedramatic and ending to like
something to the beginning.
Right, like the beginning of amovie.
Who else?
I mean, you can't not mentionJames Bond, right?
No Talk about openings.
Speaker 2 (30:36):
Like a big theme.
I mean, every person who'sanybody has written for James
Bond Right.
Speaker 1 (30:42):
Opener.
It seems like it.
They're up to like almost 30films now.
Speaker 2 (30:45):
And that's such a cool challenge for an artist too
.
It's like you're writing a songbased on this kind of very
simple melody, but it's soestablished that people
instantly know what it'spertaining to Absolutely.
Speaker 1 (30:58):
I have to mention my favorite right away because I'm
already excited about it, butthe first Daniel Craig Bond
movie 2006,.
Casino Royale, one of myfavorite Bond movies because of
its slow, methodical, lessactiony pace.
Speaker 2 (31:11):
Well, also the very first Bond book.
Oh yes, correct.
Speaker 1 (31:15):
The original Ian Fleming book.
Right, and it was Chris Cornell, not a sound garden, but just
Chris Cornell doing a songcalled you Know my Name, opening
that movie, and it's awesome,like yeah, super cool song, it's
a great song for a person'sperformance and like rest in
peace, like just to have thatcouple minutes of his voice.
Speaker 2 (31:39):
Was that audio slave era when he was doing that too?
Speaker 1 (31:42):
I believe it was audio slave era.
I believe it was audio slaveera, whether the music, I don't
think involved any of the audioslave era?
Speaker 2 (31:50):
No, I don't think so either, but no.
Speaker 1 (31:52):
But I think it was that era that would have been
around the self titled maybe orbecause they had three albums,
yeah, 2006.
Speaker 2 (31:59):
Good man.
Speaker 1 (32:01):
Anyway, for a James Bond movie to feature such a
prominent artist and thenelevate that artist's craft and
voice so high.
I think even I'm sure, did theNew York Times write an article
about how good the song was, orsomething I can't remember.
Speaker 2 (32:14):
I mean they typically get the best of the best for
that yeah.
Like Adele has done one.
Speaker 1 (32:18):
Yes, paul McCartney has done one.
Oh my God, yeah.
Speaker 2 (32:21):
Living Let Die is like one of my favorite ones,
that one lives forever, thatone's amazing.
Yeah.
Speaker 1 (32:26):
I can hear it in my head right now, just because you
mentioned it.
Speaker 2 (32:28):
Yeah, I mean, they're all iconic.
Speaker 1 (32:29):
Yep, and that's music again as a purpose.
But they're not creating scoresfor these opening sequences.
They're asking musicians tocome in and write capital M
music to really be the leadingpart of this whole movie.
Speaker 2 (32:46):
And hilariously.
It is like a very sub-sex ofthe movie, and then the rest of
it doesn't really play intomusic at all, Right right.
Speaker 1 (32:56):
It's almost like an opening sequence that just
primes you but doesn't give youany information about what's to
come, right.
Speaker 2 (33:03):
Yeah.
Speaker 1 (33:03):
Exactly.
Speaker 2 (33:05):
Or sometimes it goes into a little bit of the plot,
but Maybe with the silhouettecharacters sort of.
Yeah, I mean, it's a littlemysterious sometimes.
There's always a bullet.
Speaker 1 (33:12):
I mean that's James Bond, right.
Yeah, that's cool.
And I got to mention anotherone.
I got to mention Wayne's World,yeah, Because I mean like that,
first of all, just I was Alsokind of about music too.
Speaker 2 (33:28):
Yeah, I mean yeah.
Speaker 1 (33:30):
About music nerds, obviously, but the fact that
they have that Bohemian Rhapsodyscene in the car, that's such
an iconic scene and if you're ofour age, like the 30-somethings
now, I think that movie wouldhave hit prime time for you,
right, that was a big one as akid and I remember getting into
Queen because of that BohemianRhapsody scene.
And now Queen, one of myfavorite bands of the classic
(33:53):
rock era.
Speaker 2 (33:53):
Well, and Wayne's Gear Lust or sorry, yeah,
wayne's Gear Lust for Excaliburlike the Strat.
Yeah, I mean Olympic WhiteStrat's are rare in that year.
Speaker 1 (34:03):
And Garth's ability to play amazing drums in his
mind and then like yeah yeah,it's a very like music nerd
movie.
It is.
It's like it perfectlyshowcases.
I think it's a real moviebecause they're not putting the
Wayne and Garth on a pedestalLike they're kind of dummies,
you know, and they're kind ofjust like good-hearted but just
(34:24):
like they're nerds who messed upand they're just in the music,
like they're very realcharacters and I appreciate that
movie for using real music too.
Speaker 2 (34:33):
Yeah, yeah, very, very fun, but relatable?
I think so.
Yeah, and that's another way,like you can take an existing
song and transform it.
Speaker 1 (34:44):
Not actually, no, you can take an existing song and
transform your movie around it,right?
Like that scene of them, likethat scene of them in the car,
you know, having a good time toBohemian Rhapsody, like, really
Like, if you were to just tellthat movie in one scene.
That's pretty much what it is,right.
Speaker 2 (35:04):
And probably how they reverse engineered it, being
like SNL alum improvisers.
They were probably like, oh,people do this in a car, so how
do we make a movie out of thissort of thing?
Kind of like the Blues Brothers.
Speaker 1 (35:16):
Yeah, and Wayne's world originating on an SNL
sketch, has always been of thatlike very SNL-y sort of like
what's the real life take ofthis, like what really happens
here and how can we make itfunny?
Speaker 2 (35:31):
Yeah, it's that same elk where it probably came from,
like two or three scenes thatwere silly and fun like that,
and then just let's build acharacter around that.
Speaker 1 (35:40):
Yeah, I think this is also, if you broaden this, like
movie nerds and music nerds,like A lot of overlap.
A lot of overlap, Like it justgoes hand in hand.
I mean we're not we're notcharting any uncharted
territories here Like, clearly,like music and movies a lot of
overlap, but the way theyoverlap differs so much.
Yeah, Like you have your JamesBond openings, you've got your
(36:01):
Twin Peaks closings and you'vegot all sorts of dynamics in
between right.
Speaker 2 (36:05):
Yeah, and a lot of things to choose from.
You know you kind of have toride the gamut of whatever
movies you want to get into andmusic you want to get into.
On top of that there's like akind of overlap that you know
you might discover new music youlike or new movies you like.
Speaker 1 (36:22):
Based on whatever you're trying to go for, I will
tell you for sure that Daft Punkfans probably saw the
soundtrack for Tron announcedand then probably went and saw
that movie.
Speaker 2 (36:36):
I mean that had to have happened.
People in Daft.
Speaker 1 (36:39):
Punk might not necessarily be into Disney's
Tron franchise.
Speaker 2 (36:45):
Or not even know what Tron is.
Speaker 1 (36:47):
Yeah honestly, that movie was kind of like why are
you guys remaking this?
Does anyone care about TronBottom line?
Great movie, I think actuallypretty good movie, not great
movie.
Great soundtrack, killersoundtrack and perfect for a lot
of those very dynamic andneon-soaked visuals of that
movie.
Speaker 2 (37:07):
Yeah, and Daft Punk is a great band to recruit.
Speaker 1 (37:11):
Famous French duo who were recently on review,
unmasked I mean, I think one ofthem took up Summit for a while
ago, and one has a solo albumnow actually as of this year.
I didn't know that actually.
Speaker 2 (37:26):
Yeah, but yeah, I mean, for years and years and
years they were performing underthe guise of Daft Punk and also
sampling better than anyone wasever doing.
You know, a lot of theirsamples are indiscernible from
like original music, which isinsane to me.
I mean, there's a lot of coolstuff on homework and discovery
(37:48):
where you're just like I thoughtthat was an original song.
Speaker 1 (37:50):
The craftsmanship is unbelievable.
Yeah, and I guess, consideringTron Disney production, they
were going to go to that level.
But what always surprised me isthat they went to that level of
like let's find real musicians,like someone really cutting
edge and really doing somethingcool.
But they went so far as dosomething as cool as Daft Punk.
(38:12):
It's legitimately a cool artistcool group yeah they just are.
They wear helmets, they'reshiny, they do cool things in
their French.
And like, can't get colder thanthat.
But they write great music andthat's the thing that they
really nail that soundtrackreally well.
Speaker 2 (38:28):
Yeah, that fits in their aesthetic and fits in
their wheelhouse.
Speaker 1 (38:31):
Some of those songs are standalone songs too.
Some are very movie-scorey,momentous in that consistent way
rather than like verse, chorus,whatever.
But they do have a couple likebespoke, I think, songs that
stand alone.
That could have been singles orwhatever they could have been.
Speaker 2 (38:46):
Yeah, could have been their own Creation and people
wouldn't have bad and bad and I.
Speaker 1 (38:51):
Yeah, I have a I'll share a childhood memory.
I have a memory of first seeingAmerican Psycho, and as a child
yes, early childhood.
No, I wasn't that young,younger than I probably should
have been, but I'm not of thegeneration of, like the 80s
(39:13):
music that the lead character inthat movie, patrick Bateman,
was famously into.
Speaker 2 (39:17):
We're not of that elk , but I see what you're saying.
You saw it after.
That was like a decade beforeus, I think yeah.
Speaker 1 (39:22):
But the famous scene of Huey Lewis in the news and
the axe.
No spoilers again.
Speaker 2 (39:26):
Great oh slight spoiler you can spoil that one.
Okay, yeah, it's been longenough.
Speaker 1 (39:31):
Yeah, a guy gets pretty sliced up pretty bad with
the axe to Huey Lewis in thenews while lead character lead,
I would not call him aprotagonist.
Lead character of the movie ispsychotic and murderous.
Patrick Bateman, Yep and veryinto that sound Mordoran in the
(39:53):
80s.
But what do you think aboutHuey Lewis in the news?
What do you?
What do you?
What's your honest opinion?
Speaker 2 (39:57):
I think they're a solid pop band.
Yeah, you can listen to it.
Speaker 1 (40:01):
Yeah.
Speaker 2 (40:02):
Yeah, it's not.
Speaker 1 (40:03):
Like seriously.
Speaker 2 (40:04):
Yeah, I mean like yeah, no, seriously, I get a
smile when I listen to it.
It's like if I turned on what'shappening today and like that
came out and be like all right,great, you know it's.
I feel like at the time it waslike if you weren't on to Huey
Lewis in the news, you were inthe Steely Dan.
Okay, I mean, you were like acool, cool guy.
(40:24):
Maybe I don't know.
Speaker 1 (40:27):
Were people happier in the 80s.
Speaker 2 (40:30):
I don't think so.
It just has that.
Speaker 1 (40:33):
It has that very up ring right.
It has that very.
Speaker 2 (40:36):
Yeah, it's got a good good beat to it, it does.
Speaker 1 (40:39):
It's got like sunglasses on, like smiling, and
a convertible driving yeah.
Speaker 2 (40:43):
Yeah, it's like a less goofy Rick Astley Exactly.
Speaker 1 (40:46):
That's hilarious.
Anyway, I like just the varietyof movies.
You can just start namingEverything wanes world to
American psycho.
Have a musical element that'salmost inextricable from the
movie.
Speaker 2 (40:59):
Yeah, not only definable, but like yeah, yeah,
it's not the whole message, butit's a good part of like what it
is, yeah.
Speaker 1 (41:07):
And then there are movies that were and I did a
search earlier and I didn't findanything like that I recognized
immediately or necessarily hadso much interest, but I don't.
There are some movies that haveno soundtrack, specifically
like movies that are designedwithout one.
Speaker 2 (41:26):
Right, yeah, I don't know a lot of those and I didn't
do much research on that.
I thought I had thought there'sa German movie that won the
film festival in Cannes.
Speaker 1 (41:36):
Dusseweisse Band or the White Ribbon it's black and
white, it's a very dry movie,it's very dramatic and it's very
serious.
Speaker 2 (41:45):
But I originally thought it didn't have a
soundtrack.
It sounds very German.
Speaker 1 (41:48):
Yeah, I thought it didn't have a soundtrack and
then I did research and it does.
But I think it was a very lowpart of the movie for my memory,
but it was a very quiet film.
That's the big thing, lots ofsilence, and I think, the
absence of music this is myultimate point the absence of
music is itself, is artistic, Ithink, war movies fall in that
(42:10):
category a lot, where, like,there's not a lot of soundtrack
because it seems wrong.
Speaker 2 (42:15):
Well, no, they want to make it seem unsettling, yes.
And then also the environment.
You're not going to belistening to music Usually.
The only part in war movieswhere there is music is in like
the downtime or the bunkers orwhatever.
Speaker 1 (42:30):
Or the individual one-on-one dying scene Right.
Or like super dramatic yeah,and then this is not a role
always, but you're right, like alot of the time they'll remove
the soundtrack or the music andjust if they're trying to depict
reality, if they're saying thisis as close to as real as we
can make it Right Like stillnessand drama.
Speaker 2 (42:50):
Exactly, I mean, you say it's about saving Private
Ryan, right?
Speaker 1 (42:53):
Some of those moments of musicless silence and just
action or I wouldn't call itaction but just sound effects
and the sound of the movie arevery unsettling.
To have music on that wouldsound like you're trivializing
it.
Speaker 2 (43:09):
Yeah, and it's about the action, it's not about the
sound a bit, although in warmovies too, it's like the sounds
are super impactful becauseit's like a bomb or like the
sound that a plane makes whenit's diving and things like that
.
Speaker 1 (43:26):
So a good example of a movie, a war movie, that
doesn't follow this rubricnecessarily is Apocalypse Now,
with the end by the doors, andthen Right of the Valkyries,
right, right, yes, and a lot ofVietnam war movies follow that
musical tradition.
(43:46):
Yes, I wonder.
I don't know if Apocalypse Nowstarted it.
It very well may have I'm notinformed enough on that
immediately to know if theystarted it.
Speaker 2 (43:56):
But definitely helped make it iconic, because I
associate Creed's Clearwaterrevival with a lot of that sort
of footage.
Speaker 1 (44:05):
But again, that movie , especially the door song
really, because that song inparticular is a different song
from the rest of the door songs.
Right, it's more Homeric, it'sbigger, it's less structured,
it's almost like bluntlyemotional For it to hit in the
again.
No spoilers for the movie, ithit to the right point.
(44:26):
Yeah, it's a good example of awar movie that uses music like
that.
Yeah, definitely yeah butthat's a critical war movie,
right?
There's different types.
Speaker 2 (44:35):
Right, and it's also very dramatic in the way that
it's presenting it.
Yes, like it's not, it's aGonzo movie.
Yeah, definitely yeah, yeah,it's a.
Speaker 1 (44:46):
Gonzo movie it's like it knows what it is.
It does know what it is.
It's not yeah, it's notpurporting to depict reality in
a deceiving way.
It's saying this is not reality, but this is the emotional
reality.
The emotion you feel fromwatching this is similar to an
emotion that may have been feltin real life.
Speaker 2 (45:06):
Right the Gonzo translation.
This is the unreality ofsomeone actually experiencing
this Exactly.
Speaker 1 (45:10):
And then oh, this is a good topic, though, and I call
it the Gonzo translation iswhen you go from depicting
something that gives you theemotion that the real life
person would have had, versusdepicting reality, which may not
give you the same impact,because there's only so much
reality to watching something ona screen.
(45:30):
Right, right, you have toexaggerate, you have to
illustrate, you have to bepainterly to really impact
someone in the right way, in theway that you, as an artist,
want to impact them.
This goes for music, music inmovies and movies, right yeah.
Speaker 2 (45:46):
I really felt that about the movie Old Boy.
Did you ever see that?
No, but I know enough aboutthat.
Yeah.
Yeah, it's very chaotic anddramatic, but it's like someone
going through certain things.
Yeah, this is what they wouldfeel like.
Speaker 1 (46:00):
I got anxious just reading about that movie, so I
did not.
I did not dive into that one.
Speaker 2 (46:04):
It's more disturbing than some of these.
Yeah, it is.
It does have that element to itRight, that's a good.
Speaker 1 (46:11):
Yeah, we didn't even talk about horror movies.
Speaker 2 (46:13):
I mean, we mentioned I think we mentioned the shining
.
Speaker 1 (46:16):
We almost got to Kubrick and the shining.
We did talk about some Kubrick,but horror movies obviously
being a big channel for music, Imean I will speak as a
metalhead a little bit abouthorror.
It's a big part of yeah it isyeah, there is there's stylists.
I mean, I always say to peoplewho don't know anything about
heavy metal, like the best wayto describe heavy metal and what
(46:40):
I guess more specifically, thebest way to describe why people
like heavy metal is to say well,people like horror movies.
Right, no one bats an eye ifsomeone says I like horror
movies.
They're just like oh okay, youprobably like I don't know the
Exorcist and that that's likethe most brutal movie of all
time.
It's a rough one.
Speaker 2 (46:57):
yeah, yeah, but you know what I mean.
Like okay, they're in thehorror movies.
Speaker 1 (46:59):
It's probably not so much of a reaction as other in
heavy metal, because then youassume, people assume.
I guess people have morepresumptions about heavy metal
because they know less about itthan they do about horror movies
, horror movies being moresaturated in pop culture.
Speaker 2 (47:12):
Yeah, and I think horror movies took some time to
come around too Like yeah.
I think that was as acceptable.
Speaker 1 (47:17):
I think it's more now than ever before and more seen
as an art form, like truly anart form rather than, just like
you know, slash, slash yourmovies, which themselves, I'm
going to be honest, are an artform.
Right, yeah, yeah, certainly,until you get to like the real
joke shit, the stuff's an artform.
Yeah until it's jokerified.
Speaker 2 (47:35):
Exactly.
Speaker 1 (47:36):
Even some of the joke .
Shit is funny and good and likean art form.
Speaker 2 (47:39):
So I'm just not going to say anything is not art,
unless it's specifically reallyreally, really dumb.
Yeah.
Speaker 1 (47:46):
You know how I am, but the relation to heavy metal
is important because not only isheavy metal used in actually
some of the movies and horrormovies because it's aggressive
and heavy and distorted Like itfits the aesthetic bill, but
also, like you can write, Ithink.
I think music and horror moviesis used to enhance the horror,
like always, like that's almostalways, the primary Goals what
(48:08):
makes this movie more terrifying.
Right, and Heavy metal has aselection of terrifying songs
and sounds for you to pick from,and I think they just go
hand-to-hand?
Speaker 2 (48:18):
Yeah, no, they do go hand-in-hand.
I mean, I think that's anaccurate observation.
Speaker 1 (48:22):
Yeah, I wonder if it's the same with like sci-fi
or comedy like this comedyalways.
Indie rock is comedy always.
What is?
Speaker 2 (48:29):
it.
I mean, I think there's someelements to that like sci-fi
lends itself to like Some proggyor Dissonant type sounding
music.
Speaker 1 (48:39):
Yeah maybe a little bit.
Speaker 2 (48:40):
It's a comedy does definitely lean towards indie.
Yeah, folksy stuff Makes sense.
Yeah, I mean you definitely canget a.
There's a whole business behindyou know picking music for
movies, so you can get behindsome, some genres for certain
types of movies.
For sure I think so.
Speaker 1 (49:00):
What do you think about?
What do you think about goodold John Williams?
What we got?
Star Wars, jaws, jurassic Park,indiana Jones, yeah, the big
ones right, like without, Idon't know, without his sound,
those movies wouldn't be whatthey are.
Speaker 2 (49:14):
but then again, like yeah, I mean he saved Jaws.
Jaws is one of my favoritemovies and would also be a A
really stupid movie without themusic it would.
If you watch Jaws without music, it is very stupid movie.
Speaker 1 (49:30):
Yeah, I mean, like you can't, I Wish I was, I wish
I was alive when Jaws came outand old enough to see it.
Because talk about the originallike, like a scare the shit out
of you in the movies.
Yeah, like make you, make youchange your behavior in real
life, kind of movie.
Speaker 2 (49:46):
Well, and what a choice to like.
How would you ever think To dothat sort of Meter or tone, for
that thing?
Yeah, a shark doesn't make thatno no and like the water
doesn't do that.
Speaker 1 (49:59):
That's just a scary noise and it seems to fit very
well it does and like the factthat it's the fact that now kids
in the what, when playing inthe water, will play shark and
go.
Dan and Yep and the fact thatthat's just become the sound of
that of being chased by a shark.
Speaker 2 (50:18):
Yeah, I mean, the man knew what he was doing, right
like that's like that's iPodlevel, brilliant, right Like.
Speaker 1 (50:23):
That's like Creating something that sticks forever.
Speaker 2 (50:27):
I mean, doesn't already was paired in Spielberg,
but yeah.
Speaker 1 (50:31):
Yeah, well, great movie even without.
I mean great movie because ofthe movie itself as well.
Speaker 2 (50:36):
Yeah, I mean, if you if you took that script and read
it without any of the directionor Sound, it would probably be
Terrible.
Speaker 1 (50:44):
I think so.
I think I think that was a verysimple idea turned into a very
like compelling movie.
Speaker 2 (50:52):
Yeah, and and not even just simple.
It was a little bit overcomplicated.
Yeah cuz like why they need tobe on that island, like why were
they?
Okay, yeah, some questionsarise yeah yeah, there were just
a lot of Things going on themovie that didn't make a lot of
sense, but you didn't care aboutme.
Speaker 1 (51:06):
That shark was Scary, yeah um, the just a riff on
this movie again, like at theend when when the captain got
eaten.
Speaker 2 (51:17):
Like yeah, people remember that scene.
Speaker 1 (51:19):
Like wow is brutal, but rewatch it, it's like it's
really really.
Speaker 2 (51:25):
Graphic yeah.
Too much like, and also thisshark like, hard to do all that
it looks real like yeah it stillholds up.
Speaker 1 (51:34):
It still holds up.
You can't say the same aboutmovies even older than or
younger than Jaws.
Speaker 2 (51:39):
No, it's true, it's still holds up speaking of Jaws
to like other Big movies likethat.
Speaker 1 (51:45):
You might not think about the music immediately, but
definitely makes an impact.
Speaker 2 (51:49):
I Can't believe you're gonna mention this this
is great.
I mean, trek was a big movie,big book, big movie, everyone's,
everyone's yep, how many arethere?
Speaker 1 (52:01):
five, six, I don't know too many.
Speaker 2 (52:03):
The theatrical release saw that on the
Shakespeare.
Speaker 1 (52:07):
I'm not gonna knock track.
It's it's classic and it's it'san original.
Speaker 2 (52:11):
Yeah, get out of my swamp.
I mean, there's True meaningbehind that, but also just, I
mean talk about the powerhouseof the movie for music and for
acting.
Yes, pretty much everyone inthere is an a gamer at the time.
And then also the entiresoundtrack was a killer
soundtrack.
I Smash mouth.
(52:33):
I Mean that there were.
They did a monkey's cover tooright at the end.
I think that's that song back upin the charts.
And to top it all off, in Trek4, son of the man who wrote the
original Shrek book, jeremy Stee, very accomplished jazz
(52:54):
floutist, was the pan flutist inthat movie and he has this
whole elaborate career that Inever would know about if I
hadn't watched Shrek Links inthe description.
Speaker 1 (53:04):
You're gonna check it out because it's absolutely
worth it.
Straight to Shrek, like we're.
You're going, you're going backin time Some old-school flute
and jazz and it's Shrek related.
He's an awesome flout it's.
Speaker 2 (53:15):
But yeah, I mean that that's awesome.
Yeah, I mean, I don't know whatelse to say about maybe, other
than like people love it.
The soundtrack is great.
No notes, that's it.
That's perfect, that's enough.
Speaker 1 (53:29):
That's all you have to say about Shrek people, yeah,
people know and get out of myswamp.
Anyway, let's wrap it up here.
That was awesome talking aboutmovies and music.
I love the topic and we could.
We missed plenty of names, butwe could go on forever and we
want to hear more from you.
Yes, like talk about, like,comments, what do you, what do
you guys think is like thebiggest and best, like, let's
(53:49):
say, integration of movies andmusic.
Like which?
What?
Speaker 2 (53:51):
what example?
Stands out for you personallylike what hit you the hardest?
Yeah, give us films.
Artists, we want to hear you,want to check it out.
Speaker 1 (53:57):
We need.
We need to refresh our cue forsome watching and listening.
So the more we have from youguys, the better.
Super appreciated also, shrekshout outs Getting the comments,
so for the five or six peopleout there who are into Shrek, we
recommend that you get in touchwith us at 1 800 Shrek o'clock
and Shrek o44 and we'll chat itout, shrek.
Speaker 2 (54:19):
Oh, we need to make it.
Oh, we have to say like andsubscribe, right we need to make
a member for this too, oh yeah,well, coming soon and sounds
like is a voicemail feature.
Speaker 1 (54:28):
You can leave us voicemails and we will listen to
them.
I'm I'm worried Because I knowwhat, I know what I would do.
You know, yeah, I know what Iwould do.
Speaker 2 (54:37):
I know what I might do talk about Shrek.
Yeah like a 15.
Speaker 1 (54:42):
Yeah, we're gonna have it like a 15 minute for
like a 30 second cutoff on thisvoicemail I think yeah, maybe
not, we'll see what happens wedefinitely want you to like
subscribe Whatever you can do tofollow us.
Speaker 2 (54:54):
Get notifications about new episodes, yep, sound
sagas on Facebook and Instagramand a dot com and dot com.
We're at dot com.
Yeah, read the blog, we'regonna keep writing it.
Yeah, we have a blue Yep, andyou know, like and subscribe,
smash it, I think so All right,we'll catch you guys.
Speaker 1 (55:12):
Next one, peace.
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