OnceUponATimeInHollywood music supervisor Mary Ramos breaks down the soundtrack behind the film
no one is playing Boss Radio in the background.
As the title of music coordinator considered one step below music supervisor, or just a different job? We haven’t ever had to do that on a Quentin movie, although I’ve had to beg and describe things very explicitly. I can’t just clear a piece of music for something that’s going to be very bloody or very violent. I have to be very upfront about what’s happening in the scene for some of these licensors, some of these artists — they want to know.
Well, that’s not interesting. [Laughs.] It’s more interesting to talk about Quentin and how these stories come out of his imagination, based on his experience. And so song choices, score choices, all these things are filtered what he may have come across when he was growing up or what really impressed him at a certain moment. Music definitely sets him off and gives him inspiration when he’s writing. And then from there, I can take over and help fill out his palate, once he’s set it up.
One of the things that I love about this is that the soundtrack is going to be a really fresh experience – especially for kids that don’t listen to radio — because it does feature some of these radio airchecks and old commercials. It’s a love letter to radio. I hate that, when people say “love letter to,” but it really is.
There are some “hits” in the movie that people will recognize, at least if they’re of a certain age, whether it’s “Mrs. Robinson” or “California Dreamin’” or “Hush” or “I Can’t Turn You Loose.” But then, even for those of us who consider ourselves pop music buffs, there are a lot of choices that are well off the beaten track. You have the Box Tops, but it’s not their most famous song, it’s “Choo Choo Train.
That’s come up before, as some people have done cover versions for whatever reason, and obviously that wouldn’t have happened if it there had been any remuneration there.
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