by Julia Smith
Not only do I love Quentin Tarantino's films. I love his soundtracks. I may even love his soundtracks more than his films.
"When I'm writing a script," says Tarantino, "one of the first things I do is find the music I'm going to play for the opening sequence. I can't go forward until I figure out how I'm going to start - what the opening mood music will be. As I'm writing, I go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film. Looking for that music is finding the rhythm that the movie has to play in. It's me finding the beat." - Michaela Latham, bbc.co.uk
As someone who loves listening to music while I write, I truly appreciate Tarantino's vinyl passion. I've been hooked by his use of music ever since Reservoir Dogs. He has a way of collecting disparate songs and instrumentals that all have a similar energy - his energy. R&B, country, rock, pop, soundtracks from other films - it all congeals into a masterful collection that drives his films just as surely as his trademark dialogue and non-linear storytelling.
I haven't seen Jackie Brown yet, but my husband owns a copy for my future viewing pleasure. And though I've seen Four Rooms, we haven't acquired that soundtrack. It's always good to have something to look forward to.
But I keep the five Tarantino soundtrack CDs we do own close by and play them over and over. What is it about his choice of music that works so well? I think it's his decision to go with B-sides, or with covers of songs we know but just not that version which is key. He creates both a sense of familiarity and a freshness that way. The Urge Overkill cover of Neil Diamond's Girl, You'll Be a Woman Soon from Pulp Fiction is a perfect example.
His use of music from other films is inspired. Take Twisted Nerve by Bernard Herrmann from Kill Bill Vol. 1. Nothing could be creepier than Daryl Hannah walking down the hospital hallway with that eerie, dreamy whistling announcing her deadly intention.
Each film has its signature piece.
For Reservoir Dogs it's Little Green Bag by George Baker.
For Pulp Fiction it's Misirlou by Dick Dale and the Del Tones.
For Kill Bill Vol. 1 it's Battle Without Honor Or Humanity by Tomoyasu Hotei.
For Kill Bill Vol. 2 it's Malaguena Salerosa by Chingon
WARNING: Some violent images
For Death Proof from Grindhouse it's Chick Habit by April March.
I for one am glad that Tarantino has a record room to house his musical muse. His creative compilations never fail to spark my imagination
