Filmmakers Recycling Music

What do you folks think of filmmakers who recycle bits of scores from past films? And not their own films, either.

For example, Tarantino likes to do this quite often, from using Morricone's music to Herrmann's. I've not read anything of Morricone speaking out against this, but can imagine that Mr. Herrmann wouldn't have been too enthusiastic about the concept. I figure most talented composers craft specific and precise scores for their films and the music really shouldn't be thrown into a modern film. With the connections that Tarantino has, why isn't he able to get his own fucking composer?


By the way, hasn't he already ripped off a Morricone score for his next film?

I don't care for the idea.

One of the things I hated about 'Bloodthirsty Basterds' was the recycling of Giorgio Moroder's 'Putting Out Fire'. Mind you, it was no.99 on a very long list.

If a score from another film is used to great effect I think it's just fine. It shouldn't be restricted to pop songs/classical music.

Mr. Brown wrote:

With the connections that Tarantino has, why isn't he able to get his own fucking composer?

He doesn't want one. He's a control freak when it comes to music.

Didn't he originally want Morricone to score BASTERDS but the he was unavailable?

I hate it. I'm mildly annoyed by the use of classical music in films, but recycling film scores drives me mental.

Harmsway wrote:

Mr. Brown wrote:

With the connections that Tarantino has, why isn't he able to get his own fucking composer?

He doesn't want one. He's a control freak when it comes to music.

That's not true. He wanted Morricone for BASTERDS, but he was busy scoring a Tornatore film in Italy.

Sharky wrote:

I'm mildly annoyed by the use of classical music in films

I'm only annoyed if the pieces are overused or used poorly. In truth, I wish more films relied on classical music.

Sharky wrote:

That's not true. He wanted Morricone for BASTERDS, but he was busy scoring a Tornatore film in Italy.

Morricone is the only composer to which Tarantino would extend that honor. (And I believe he's pretty much said as much.)

Oh, and did you mean to post the above material in this thread?

Harmsway wrote:

Sharky wrote:

I'm mildly annoyed by the use of classical music in films

I'm only annoyed if the pieces are overused or used poorly.

Sadly that's about 90% of the time. Too many "serious" filmmakers try to see themselves as the next Kubrick, and think they can pull it off. Although he's a vet, I haven't been impressed by Scorcese's use of classical in the last 2 decades. Although I enjoy many of the pieces and composers heard in SHUTTER ISLAND (Penderecki, Scelsi etc.), I thought the handling of their music was clumsy and hamfisted at best.

Malick's different. He's a got a great dramatic sense, but I don't share the same taste, as far the 20th century goes. Tavener, Glass, late Gorecki (I enjoy his earlier works) aren't my cup of tea - especially Koyaanis bleeding qatsi. One of the most cringe-inducing pieces of tripe out there.

I love KOYAANISQATSI. (But I don't see what it has to do with Malick.)

No you're right, though some of the imagery in TREE OF LIFE reminded me of KOYAANISQATSI. I guess that's why I made the connection. Thinking about it, I'm surprised Malick hasn't used more Glass and Adams in his films.