Tarrantino on composers

Alain Mayrand Composer Relations, Scoring Process 4 Comments

Quentin Tarrantino on his use of music in film.

I don’t normally use original score. I don’t trust any composer to do it… The music is so important. The idea of paying a guy and showing him your movie at the end and then he comes over it; I would never give anybody that kind of responsibility…I have one of the best soundtrack collections… That’s how I write it, that’s how I design it; I go into my soundtrack collection and I start visualizing the sequences…I cut out the composers. I work with the best composers, Ennio Morricone, Lalo Schifrin, John Berry[sic]…but I don’t deal with them.

~ From a seminar in Cannes.

Well, now, I am a composer, so my opinion is biased but here is what I find funny about his attitude:

This film music he proudly collects and apparently uses was written by film composers after the film, exactly the way he avoids working.

I’ll be honest, I find his statement somewhat self-contradictory. I mean, based on his apparent love of film music that came from a certain way of working, I would expect him to adopt this method of adding music to a film, rather than avoid it.

Could it be ego making that decision?

Personally, I see film music as part of the story-telling, part of the movie’s identity. Patching up a score from other sources just seems like making a Frankenstein monster if you ask me.

Songs are a different matter entirely.

4 Responses to Tarrantino on composers

  1. Pingback: Tarantino on Film Music | Film Score Click Track

  2. Deane Ogden

    Interesting. We had a discussion about this very thing over on SCOREcast a few weeks ago. Check it out and let me know what you think, Alain. http://www.scorecastonline.com/2009/10/weekend-provocation-calling-out-quentin.html

  3. Pingback: Top 10 Uses of Music in Tarantino Films

  4. some guy

    To him, the process goes in another direction. In a way that i understood his additute, which i really admire, is, he wouldn’t mind working with a composer, but only if he wrote the music first, and than it’s up to director to put the magic to it. The greater responsibility goes on the person who takes someone else’s material and works with it. And it takes more knowledge, which he thinks he owns, and wants to be the second person in that chain.


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