Tag Archives: Blade Runner

Rocks In The Attic #608: Various Artists – ‘True Romance (O.S.T.)’ (1993)

RITA#608.jpgIn the early 1990s, director Tony Scott was handed a piece of gold dust. Quentin Tarantino, a cocky, young up-start had been circling Hollywood for a few years trying to develop his first script, True Romance. Tarantino decided to sell the script, and Warner Brothers snapped it up greedily. In hindsight it would have been too large a project for a first-time director anyway.

Instead Tarantino turned his attention to his next script, a simpler heist story called Reservoir Dogs. This would have been an easier film to pitch with him as director – the heist is never seen, only referred to, and much of the film takes place in one location.

By the time he was handed Tarantino’s script, Tony Scott was already a blockbuster director, arguably more commercially successful than his older brother Ridley. While Ridley had scored critical successes with Alien and Blade Runner, Scott had directed Top Gun, Beverly Hills Cop II and Days Of Thunder. His collaborations with super-producers Don Simpson and Jerry Bruckheimer say more about his directing style than anything else.

True Romance then, becomes the lost Tarantino picture. His trademark dialogue is evident throughout the film – all pop-culture references and cooler than cool soundbites – but Scott’s input muddies the water somewhat. The cinematographers that Scott worked with throughout his ‘80s and ‘90s films had a very peculiar style. Lots of obtrusive close-ups, too many filtered interiors, and a very synthetic, staged camera set-up. By the time you get to something like 1996’s The Fan, the cinematography is so overbearing that the film is practically unwatchable.

Looking back, True Romance has one of the greatest ensemble casts of all time, featuring several actors who would go onto bigger things. Joining leads Christian Slater and Patricia Arquette were Michael Rapaport, Bronson Pinchot, Dennis Hopper, Val Kilmer, Gary Oldman, Christopher Walken, Brad Pitt, Chris Penn, Tom Sizemore, Samuel L. Jackson and a pre-Sopranos James Gandolfini.

RITA#608aThe soundtrack also differs from most Tarantino films in that it has both a pop soundtrack and an original score, by Hans Zimmer (the only soundtrack of Tarantino’s to mix pop songs with an original score is The Hateful Eight). Zimmer’s score is delightful – practically a proto-Thomas Newman score before he rewrote the rulebook on esoteric, oddball soundtracks with 1996’s American Beauty.

Some of the pop songs wouldn’t be out of place on a Tarantino soundtrack. Charlie Sexton’s Graceland, Robert Palmer’s (Love Is) The Tender Trap and Chris Isaak’s Two Hearts feel like they belong in QT’s record collection, but mediocre tracks like Charles & Eddie’s Wounded Bird and John Waite’s In Dreams reminds you that this really is just a typical run of the mill blockbuster soundtrack, and wasn’t curated in any way by Tarantino. Even Soundgarden’s Outshined sounds a little too obvious. The absence of Aerosmith’s The Other Side – presumably due to rights reasons – is personally disappointing, but it would have just dated the soundtrack even more.

Hit: Outshined – Soundgarden

Hidden Gem: Graceland – Charlie Sexton

Rocks In The Attic #334: Vangelis – ‘Chariots Of Fire (O.S.T.)’ (1981)

RITA#334I haven’t seen Chariots Of Fire, or at least I don’t think I have. If I did, it must have been when it was first on television, which would have been when I was about five years old. It hardly seems the sort of film that would excite a five year-old though.

Almost everything on this soundtrack sounds like Blade Runner. I know the score – and the soundscape – of that film so well, that you can hear certain sections in this soundtrack that he’s rehashed for the later Ridley Scott film. When I finally get to see Chariots Of Fire, I’ll be disappointed if there are no Voight-Kampff empathy tests as part of their University education.

Before I bought this record – for no more than a dollar, from one of my local charity shops – I hadn’t heard anything from the soundtrack except for the main theme (Titles). The rest of the album is just as good, with a lovely electric piano on Abraham’s Theme showing where Zero 7 got some of their inspiration from.

After the excellent opening ceremony to the 2012 Olympic Games in London, the main titles of Chariots Of Fire will forever be linked to that great little sketch by Rowan Atkinson. I need to see the film, otherwise I’ll start to think that I have seen it, and that I really enjoyed its humour, especially in that scene when Rowan Atkinson outran everybody on the beach.

That’s the good thing about living in this decade – films at your fingertips. All though growing up, adolescence, and into my twenties, I would wait patiently for certain films to show on television. In the UK, there was a good chance for classic films to turn up from time to time on a BBC2 retrospective. Unfortunately New Zealand television doesn’t have the same mandate to educate viewers – they just show the same action films and rom-coms over and over. There was also that time that TVNZ played Thunderball the week after they had played Never Say Never Again. Idiots!

Hit: Titles

Hidden Gem: Abraham’s Theme