Will Tarantino Snag Morricone for ‘Inglorious Bastards’?
According to Variety’s Nick Vivarelli, Italian composing legend Ennio Morricone has agreed to score Quentin Tarantino’s Inglorious Bastards now filming in Germany. The problem is, shooting on the film will not finish until February and Tarantino has said he wants to bring the film to Cannes in April. That doesn’t leave enough time for Morricone to do his work.
According to the composer, “either I start working on it before he stops shooting — after we discuss it together — or I just can’t do it.” He adds, “I might end up just writing a couple of tracks.”
After OD’ing on Inglorious Bastards earlier this year, I’ve recently been ignoring scraps of Tarantino related information, but this news makes me smile. I hope it works out.
Filed under: News, Production
Tags: Ennio Morricone, Inglorious Bastards, Quentin Tarantino
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This would be wonderful… I hope this works out!
Sounds like Tarantino needs to adopt a Leone tactic and just let Morricone start writing material now, before the movie has started shooting (right?) and let it shake it in an organic way.
Isn’t this the first time Tarantino has ever used an original score created for the film? I think it is. I wonder how he would deal with that, considering his soundtracks are so well-known and respected for his ability to marry image to music?
I guess my point is I wonder how much it might change his creative process if he hasn’t even heard the recorded score before he’s done shooting the film?
I would love to see this happen.
It’s not the first time he used an original score, Robert Rodriguez composed a score of sorts for KILL BILL: VOL. 2, just so Tarantino could have the experience.
He may use a mixture of both, but if he wants this to be a true throwback, he may want to let Morricone take over completely.
According to the Variety column, he asked Morricone to do one for Pulp Fiction but was turned down.
Interesting.
I say just forget about Cannes 2009 and wait for Morricone. I never believed that promise anyway.
Of course, back in the Pulp Fiction days QT was just a fast-talking screewriter who had made one above-average crime movie and didn’t have as big of a music budget.
Only Bernard Herrmann and Max Steiner would rank over Morricone as film composers in my humble opinion. After that would be Williams, Newman, Korgold, Waxman and Rota in no partcular order.
And one John Barry.
Ha…appropriate call Christian.
Christian, I entered this same diatribe at Alexander’s site last week and BARRY was includes with those (you can still see it there under CCC’s Morricone thread.) My failing to remember to list Barry’s name here was completely accidental. Sorry about that, I agree he’s a titan.
I’m quivering at the thought. Morricone is, in my humble opinion, the greatest film composer…ever.
Yep, loves me some Morricone.
Maybe it’s my undying love for all things Miyazaki, but while I don’t know if I’d put his stuff over Morricone’s, I think that Joe Hisaishi should at least be in the conversation of the greatest of all times. Does such an exceptional job on every film of creating a magical, lush musical atmosphere.
Morricone is definitely up there, but for me it’s Williams all the way. Goldsmith is a strong contender as well.
Herrmann all the way for me, followed by Williams, Morricone, Barry, Goldsmith, Horner (when he’s on) and (gulp) Elfman.
Glad somone threw in the hat for Elfman. I’m queasy about putting him up the greats….but since we’re opening up the club, I nominate Carter Burwell.