Q: The film has a very powerful and pervasive soundtrack – can you talk about “Hadi's Tower of Songs”?
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HH: The soundtrack is very important. I'm focusing on specific time period of music, the late '70s, the early '80s, which has a unique feel, before things become New Romantic. It was a very disparate era: Laurie Anderson, the B-52s, Talking Heads. There was all sorts of weird music. Baccara's “Yes Sir, I Can Boogie,” “Uptown Top Rankin” by Althea and Donna. One hit wonders.
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All those American indie 80s movies I've talked about, they all used that kind of esoteric, post-punk soundtrack. For me, the B-52s are very specific to a certain period of time. They're the group that tap into the vibe I'm seeking the most. Throw in the vibe and feel of 80’s pop art, which influenced the credit sequence done by Marc Hardman, our VFX supervisor: it’s very clunky animation, as if shot on an old rostrum camera, bright colors, pop art, gives you the playful and naive vibe for the film, sets the tone up well for the audience.
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The Tom Jones song we used in the shootout, “Did Trouble Me,” was written by Susan Werner, a US folk singer, and that’s a more contemporary song. I was walking along one day through central London while I was editing, and I had the IPod on shuffle and this song came on from Tom Jones' gospel album, Praise and Blame, and I knew instantly it would be perfect for the big slo-mo shootout. It was the antithesis of what going on in the scene, it was slow and measured and I thought that was exactly what was needed instead of going frenetic with a score. We also used the classic from that period “Pop Muzik,” by M, which sounds like it was made today.
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