Ennio Morricone: I'll Never Work With Tarantino Again

Quote :

The 84-year-old conductor, who has worked with the "Django Unchained" director on four films, says he uses music "without coherence."

Morricone’s work most recently appeared in Tarantino's Django Unchained, the homage to the Spaghetti Western genre Morricone help popularize in the 1960s with classics including The Good The Bad and the Ugly (1966) and A Fistful of Dollars (1964), both directed by Sergio Leone.

Morricone also wrote most of the award-winning soundtrack for Leone's epic Once Upon a Time in America.

The Django Unchanged soundtrack included Morricone’s "Ancora Qui," sung by Elisa Toffoli, along with three short Morricone instrumental pieces.

Morricone and Tarantino actively worked together on Inglourious Basterds, Tarantino’s 2009 reinterpretation of the end of World War II, and on both installments of the Kill Bill franchise.

But it’ll never happen again, according to the 84-year-old Morricone, who has written music for more than 500 films.

“I wouldn’t like to work with him again, on anything,” Morricone told students in a music, film and television class at Rome’s LUISS University, according to Italian media reports Friday. “He said last year he wanted to work with me again ever since Inglourious Basterds, but I told him I couldn't, because he didn’t give me enough time. So he just used a song I had written previously.”

Tarantino is frustrating to work with, Morricone said, observing that the two-time Oscar winner “places music in his films without coherence" and "you can't do anything with someone like that."

Morricone said he saw Django Unchained but was not impressed: "To tell the truth, I didn't care for it," he said. "Too much blood."

Morricone’s credits list includes films with iconic directors on both sides of the Atlantic, such as Europeans Bernardo Bertolucci, Pier Paolo Pasolini, horror master Dario Argento, Pedro Almodovar, Giuseppe Tornatore and Sergio Corbucci, the director of the original Django film, as well as Oliver Stone, Terrence Malick, Brian De Palma and Barry Levinson from Hollywood.

After receiving five Oscar nominations for Best Musical Score between 1979 and 2001, Morricone was given an honorary Oscar in 2007, for lifetime achievement. He has also won nine David di Donatello awards, Italy’s highest film honors.

http://www.hollywoodreporter.com/news/italian-composer-morricone-slams-tarantino-428954

Fuck off, Tortolino.

Throughout human history, Geniuses like Tarantino are always misunderstood and shunned by society.

j7wild wrote:

Throughout human history, Geniuses like Tarantino are always misunderstood and shunned by society.

The man loves to suck women's feet, yep, just the type of guy you want to introduce to dad.

Mrs Aural Sects wrote:

j7wild wrote:

Throughout human history, Geniuses like Tarantino are always misunderstood and shunned by society.

The man loves to suck women's feet, yep, just the type of guy you want to introduce to dad.

Does Mrs. Sects not enjoy having her toes sucked and her feet rubbed?



How about having them tickled with a feather?

j7wild wrote:

Throughout human history, Geniuses like Tarantino are always misunderstood and shunned by society.

Morricone is the genius in this situation. Not Tartalino.

Control wrote:

j7wild wrote:

Throughout human history, Geniuses like Tarantino are always misunderstood and shunned by society.

Morricone is the genius in this situation. Not Tartalino.

That's true too.

It's amazing that he is still working and able to compose at 84.

I hope I will still be lucid enough to write thought provoking posts and threads on the internet when I am 84.

j7wild wrote:

I hope I will still be lucid enough to write thought provoking posts and threads on the internet when I am 84.

Don't we all.

A good seventy years then to wait.

^

I was going to say 'Why wait? Here and now would be an excellent place to start', but yours wins Hilly :*h*: .

I fear it couldn't be passed up. Even if it meant a derailment. The original post itself is the post of the year.



I don't blame Morricone for his comments. Musically the films are a mess. To my ears anyway.

I very much enjoyed the Django Unchained soundtrack (and the movie), but I can see how Tarantino's 'magpie' approach would have bugged Morricone (not that I'm any sort of expert in his soundtrack work).

'without coherence' pretty much sums Tarantino up for me and not simply on the musical level.

Amusingly, Morricone has scored The Hateful Eight ... that's an interesting version of 'never'.

Morricone explained that his comments were taken out of context.

http://www.ew.com/article/2013/03/18/ennio-morricone-is-not-feuding

Quote :

   What I read about my statements on Quentin Tarantino is a partial writing of my thoughts which has deprived the true meaning of what I said, isolating a part from the rest. In this way my statement sounds shocking, penalizing me and bothering me a lot.

   I have a great respect for Tarantino, as I have stated several times, I am glad he chooses my music, a sign of artistic brotherhood and I am happy to have met him in Rome recently. In my opinion, the fact that Tarantino chooses different pieces of music from a work in a film makes the pieces not to be always consistent with the entire work.

   The risk for me, when I compose, is not to be consistent with the film work and my desire is that the director accepts my consistency.

   Tarantino proposed me to work for Inglorious Basterds, which I consider a masterpiece, but I could only had two months to work since I had to compose the soundtrack for “Baaria” directed by Giuseppe Tornatore and it was not possible.

   Regarding Django, the thing is that I cannot see too much blood in a movie due to my character, is how I feel and impress me especially with a film that is made very well and where the blood is well shot. But this has nothing to do with my respect for that Tarantino which remains great.

That said, it was fantastic to see a new film with a score by Morricone during the 70mm show I got to attend, complete with overture and intermission.

How is it, MP? I suspect I'll enjoy it, but will probably think it could've been shorter.

Really liked it, much better than the trailer made it look like. The cast doesn't disappoint and it looks gorgeous (teaming up with Richardson was the best thing Tarantino did, aside from discovering Christoph Waltz). It feels like John Carpenter's THE THING with the paranoia being prevalent between the characters, being trapped in a blizzard, and the sort of nihilistic ending. Like I said earlier, it's wonderful to hear a Morricone score as it should be heard in an auditorium.

Good to hear :) . UK release is Friday.

I loved the movie (unabashed Tarantino fan, so maybe the grumpiness I alluded to in the Waltz thread hasn't set in completely yet) and Morricone's music was one of the highlights. Almost a horror score more than it is a Western score, although it is certainly both, and I think the two styles mesh really well.

So Morricone just won the Golden Globe for his work in Hateful Eight…

Well earned.

Xenia93 wrote:

I loved the movie (unabashed Tarantino fan, so maybe the grumpiness I alluded to in the Waltz thread hasn't set in completely yet) and Morricone's music was one of the highlights. Almost a horror score more than it is a Western score, although it is certainly both, and I think the two styles mesh really well.

I saw it yesterday. Really disappointed by it. I though it collapsed under the weight of Tarantino's self-indulgence, and I'm something of a Tarantino fan. The first half was definitely the stronger half - I loved the idea of eight strangers locked in the haberdashery, but one is not who they claim to be and none can be trusted to tell the truth, so they devolve into psychological warfare and end up destroying each other. But Tarantino only bothered to set up half the characters, and then halfway through it just becomes a Reservoir Dogs retread. It's like he had no idea how to resolve it, and so threw a spanner in the works from off-stage - which would not have been a problem if he had given the audience something to work with.

Prisoner Monkeys wrote:

Xenia93 wrote:

I loved the movie (unabashed Tarantino fan, so maybe the grumpiness I alluded to in the Waltz thread hasn't set in completely yet) and Morricone's music was one of the highlights. Almost a horror score more than it is a Western score, although it is certainly both, and I think the two styles mesh really well.

I saw it yesterday. Really disappointed by it. I though it collapsed under the weight of Tarantino's self-indulgence, and I'm something of a Tarantino fan. The first half was definitely the stronger half - I loved the idea of eight strangers locked in the haberdashery, but one is not who they claim to be and none can be trusted to tell the truth, so they devolve into psychological warfare and end up destroying each other. But Tarantino only bothered to set up half the characters, and then halfway through it just becomes a Reservoir Dogs retread. It's like he had no idea how to resolve it, and so threw a spanner in the works from off-stage - which would not have been a problem if he had given the audience something to work with.

The more it sits with me the less I love it. I'm going to see it again soon. It could go either way for me as it is now (after a second viewing I might consider it top 3 or bottom 3 Tarantino).

Reading some interviews with Tarantino, he says that he drew inspiration from episodes of old Westerns where the protagonists met a band of strangers and had to figure out if they were friendly or antagonistic. So on a certain level, it a glorified television episode.

My real issue was with Samuel L. Jackson's character because a big part of the resolution hinges on him. However, when he torments the Confederate general, his story becomes increasingly lurid and gratuitous. He's clearly trying to bait the general into going for the gun, so I don't think that the story can really be believed. He probably did shoot the general's son, but I doubt that there was a naked death march and forced oral sex; those details seem to be constructed to aggravate the general.

The problem is that the story kills his credibility - but the resolution hinges on Jackson's knowledge of events off-screen. How can we believe him when we doubt his story? How do we know that he's not trying to turn the others on Bob? It's possible that the film could be constructed to have Jackson dig everyone out of the hole, but Tarantino is pretty lazy about it. And then Channing Tatum arrives without warning or giving us any reason to believe that he was in the basement all along.