![]() This less popular song by The Ramones not only gives the scene an energy and humor, but it tells us so much about the character of Margot. “Judy is a Punk” by The Ramones paired with Margot Tenenbaums background story is a montage that tells the background story of Margot being a smoker, showing how wild and “punk rock” of a life she’s lead, always operating by the beat of her own drum. Some of the most pertinent and poignant musical moments emerge when the dialogue fades, and Anderson brings together a momentous song with a series of cuts. Anderson uses it in every one of his movies, and it’s one of the primary places where we see his musical selections come to life. Music and Montageįirst, let’s talk about montage. He accomplishes his seamless timing in three distinct ways: in the use of montage, slow motion and by always connecting a theme in his story directly to a song. If the sound is not working precisely together with the image, nothing else matters. The Timing of Anderson’s MusicĪnderson’s approach to music ultimately hinges on timing. If you are looking for music that sounds old and timeless, check out our Soul Playlist. As his filmography pays testament, Anderson helps us see the power of nostalgia. ![]() The way Anderson uses timeless music should urge filmmakers to consider the limitations that might exist when only using modern music and how that fixes their work in a specific context and sometimes even puts a ceiling on their work. If you didn’t know the release date, for example, you might have trouble dating his movies–and that’s a good thing. He’ll use everything from radio hits to deep cuts and hidden gems from the likes of The Kinks, Cat Stevens, The Zombies and The Beach Boys.Īnderson creates nostalgia, not necessarily to take viewers back to a certain time or place but to establish a universality and timelessness, getting his films out of the here and now. It’s hard to think of another director who uses oldies as frequently and effectively as Anderson. If you are looking for a great score for your project, check out our Cinematic Playlist. Though Anderson doesn’t establish a hard and fast rule, it’s something for filmmakers to note as a potential way of deciding when to use a score or soundtrack in your film: scores for background and soundtracks for foreground. The latter allows for the song to become a character in and of itself, with a life and story of its own. Anderson only deviated from these two composers on one film, The Darjeeling Limited, for which he used the scores of famous Indian director and composer Satyajit Ray to honor the culture in which the movie is set.Īnderson and his music supervisor, Randall Poster, collaborate with Mothersbaugh, Desplat and others to make original music that compliments and supplements the story–usually the tone or the setting–while using existing music to overtake the story.Īnderson uses scores in the background, careful not to steal attention away from the moment or scene, while he uses soundtracks in the foreground, to purposefully overtake the moment or scene. When it comes to scores, Anderson works primarily with Devo frontman Mark Mothersbaugh and French composer Mark Alexandre Desplat, who also composed The Curious Case of Benjamin Button and The Shape of Water. No matter the project, the director has a meticulous plan for how he will use the two together–and it always depends on the moment. When to Use a Score Versus a Songįrom his first feature film Bottle Rocket to his latest achievement Isle of Dogs, Anderson uses a combination of a score and a soundtrack in every work. We take a deep dive into his uncanny ability for finding just the right song for just the right moment, whether that’s how he distinguishes between songs and scores or how he uses music as a way to interpret the stories he tells. But wherever you land on the spectrum, you can’t deny how masterfully he utilizes music. Some moviegoers resonate with his idiosyncratic style, while others loathe it.
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