I’m not really a “movie” guy. I don’t go to the movies often. With the advent of DVD technology, it’s much more appealing to buy a movie when it comes out so that I can dive into extras and watch it whenever I like, as opposed to spending roughly the same amount of money to actually see it in the theaters.
However there are some movies that I do go to see on the large screen. Sometimes these flicks are the huge blockbusters that “you’ve got to see on the big screen” (like “Spider-Man 2). But more often than not I head to the multiplex to witness the work of a handful of directors who never fail to impress.
After enjoying the work of those directors I usually find myself filled with the urge to go shopping for music. More specifically the soundtrack for the film that I just finished watching. Y’see when I’m a fan, I try to show as much support as I can. But also these flicks generally have amazing music in them.
Well, I’ve kept in suspense long enough. Allow me to present My Five Favorite Movie Directors (by way of their soundtracks.)
Guy Ritchie
I didn’t get up on Guy until Snatch came out, but I was so slayed that saw it twice, the same day. I immediately went to buy the soundtrack because I was impressed by the music used in the film.
Lock, Stock and Two Smoking Barrels was also quickly grabbed up, as was it’s soundtrack. Again, I found myself reliving scenes while listening to my discman on the bus. His knack for tying a song to a scene is pretty cool. I really dig his use of reggae
The reason Ritchie comes first is because, despite my being a fan, I couldn’t justify paying to see him direct his wife. Swept Away could be the greatest movie of all time, complete with a stupendous soundtrack, but I’ll never know, because I regard it strictly as a vanity project.
Steven Soderbergh
Soderbergh makes the list because of his use of frequent collaborator David Holmes. I always loved Out of Sight as a film (it’s usually somewhere in my favorite movies list at any given moment). One day I just decided to pick up the soundtrack, and I regretted not picking it up earlier.
The Trunk Scene, Tub Scene, and No More Time Outs can mellow me out no matter how bad a day I’m having. Those three tracks are incredibly soothing. And Holmes’ other contributions to the album are also solid efforts.
Immediately after watching Ocean’s Eleven I scooped up the soundtrack, because I wanted to relive the fun. I also did the same with Ocean’s Twelve. All three soundtracks feature tracks by other artists, but Holmes contributions are the songs that really stand out. Holmes sure can score.
The only reason Soderbergh doesn’t rank higher is because those are the only three soundtracks to his movies that I own. But my enjoyment of those soundtracks is practically immeasurable.
Quentin Tarantino
You know that Quentin’s going to make the list. His use of music in his movies is pretty much acknowledged as some of the best. His obsessive pop culture knowledge is part of what makes his soundtracks such a treat to listen to.
Everyone remembers “the ear scene” from Reservoir Dogs and “Travolta Dancing” in Pulp Fiction. But Jackie Brown also had a solid soundtrack. Personally I’m still enjoying the Kill Bill soundtracks. While they aren’t in heavy rotation, they’re still getting played.
My main qualm with Quentin is his lack of original score. Sure he makes up for it with an eclectic mix songs, but I’m curious what someone scoring would sound like. But dude, those Kill Bill soundtracks do rock.
Paul Thomas Anderson
P.T. Anderson slays me as a director, and the way he uses music blows my mind. The soundtrack-less Hard Eight was cool, but Boogie Nights is perhaps the consummate soundtrack, and the one most deserving of the “volume two” treatment. There are so many songs tied to scenes in my mind from that flick, I’m practically Rahad Jackson myself. And how dope was it to find “The Touch” as a bonus track?
Magnolia had such a cool soundtrack, that was dominated by Aimee Mann. The scene where the entire cast sings Wise Up is a scene that you either love or loathe, I happen to love it. Plus it really blows the use of the song in Jerry Maguire out of the water.
Punch-Drunk Love also had a solid soundtrack, with more emphasis on original score. Jon Brion who provided score for Anderson’s pervious efforts, put in quite an effort. It’s not as easily accessible as some of his other soundtracks; it’s nonetheless just as satisfying.
Wes Anderson
Wes is a quirky guy who makes quirky films with equally quirky soundtracks. But the films are always memorable, which makes the soundtracks all that more powerful.
Anderson uses Mark Mothersbaugh (from Devo) to compose score for his films. But he also picks some songs that have actual meaning. As opposed to picking songs know for their popularity, Wes seems to pick songs that resonate with him, as opposed to in the public consciousness.
Rushmore and The Royal Tenenbaums not only both featured some great songs, but actually introduced me to some great songs. The Life Aquatic with Steve Zissou continued the trend and even upped the ante by including Seu Jorge’s Portuguese covers of David Bowie songs.
I mean honestly, with that on his resume how can Wes Anderson not be the tops?
Yet again, you’ve reached the end of a column that barely relates to music and are disappointed. Read these to cleanse your eye palate;
Dasani
Shawn makes his grand debut!
Jeff for some reason thinks of Whitney Houston when he hears “Houston.” How dare you not think of a one hit wonder.
Gordi continues his work with Wrestling themes.
Gloomchen has every Gen Xer’s dream; Tiffany vs Debbie Gibson.
Michael continues covering Billy Corgan.
Aquafina
Phil on Saturday’s?
Ian gives Ryan some props, dogs both The Simpsons and 50 Cent. Ouch!
MSD gets linked for being the one person in America who has actually seen less Oz than I have. I feel special.
Melchor returns, kind of.
Last Five CD’s I Purchased
1. Theodore Unit – 718
2. Ice City – Welcome to the Hood
3. The Zutons – Who Killed”¦”¦The Zutons
4. In Loving Memory of Russell Jones
5. Handsome Boy Modeling School White People (Instrumental)
