Composer Morricone sets menacing mood for new Tarantino film

11 Dec 2015 | Author: | No comments yet »

A role to cherish.

The Oscar-winning film-maker has been hinting since 2012 that he will retire once he has made 10 movies – forthcoming western The Hateful Eight is his eighth – but said in an interview with the Hollywood Reporter that he would not simply stop working. “I’m probably only going to make 10 movies, so I’m already planning on what I’m going to do after that,” said Tarantino. “That’s why I’m counting them.The maestro has a bad back and his memory may not be what it was, but the man behind some of the most famous film music ever can still keep Quentin Tarantino waiting. He convinced me to compose for him.” Morricone, who won a lifetime achievement Oscar in 2007, is best known for the so-called “spaghetti westerns” – he dislikes the term – directed by his childhood friend Sergio Leone in the 1960s. I actually want to do a theatrical adaptation of Hateful Eight because I actually like the idea of other actors having a chance to play my characters and see what happens from that.” Tarantino also said he liked the idea of a stage version of Reservoir Dogs, his 1992 debut, which he said “could be put onstage and has been put onstage many times”.

But he draws a line between his latest composition and those works starring Clint Eastwood, which famously featured coyote sounds, whip cracks and gunshots. Tarantino “has done a beautiful, interesting, original film and I treated it differently from what I did for Leone, not like a western but like a free film. “My real purpose was to write classical music. Jackson and Kurt Russell as bounty hunters and Jennifer Jason Leigh# as a fugitive, the film features Tarantino’s ultra-violent touch and trademark monologues. Speaking through an interpreter to the BBC, Morricone, 87, said a 2013 comment in which he was quoted as saying the film-maker “places music in his films without coherence” should not have been attributed to him.

The composer said he had no problem with Tarantino using his previously recorded music for movies such as Kill Bill and Django Unchained. “On the contrary, I was very, very flattered,” he said. “The fact that my music, which had been written for other films, could be adapted to the poetry of Quentin Tarantino’s film-making was a great gift for me. “The only thing I criticised of Quentin Tarantino was a single scene in a single movie which, for me, was too violent and too ghastly. Then, of course, you have to live – and you can make money from film music,” he said. “That’s just how my life went.” As a child, Morricone played the trumpet with his father in 1930s Rome. The director described the experience as a a “once in a lifetime thing” at a Q&A session at Abbey Road studios in London on Thursday ahead of The Hateful Eight’s UK premiere. The variety of directors he has worked for reflects the differences in his work – from Oliver Stone to Pedro Almodovar, and Brian de Palma to Bernardo Bertolucci. “It will almost all be film music – the scores that interest me for their compositions, for the discoveries that they yielded, not based on the film or the director.

Suddenly animated, he conducts with vigour and rehearses again and again with the orchestra – his words in Italian translated to the other musicians by a violinist.

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