Liner Notes The Real Blonde:
The shooting done, the film edited, now the
creative team behind the soundtrack for The Real Blonde had to
put the music together. Director Tom
DiCillo, composer Jim Farmer and music supervisor Robin Urdang spoke about
their choices and creating a soundtrack as compelling as the film, song by
song, piece by piece.
ÒNeighborhoodÓ -- Space
DiCillo: I like this group Space. That guy writes a little bit like the guy
from Wall Of Voodoo, Stan Ridgway. Space is funny. ÔNeighborhoodÕ is about this guy living in this apartment surround by psycho killers. ItÕs really hilarious, but quite sophisticated musically.
Urdang: ÔNeighbourhood,Õ by Space, thatÕs been on the radio in LA.
ÒNo RespectÓ -- Kool Moe Dee
Urdang: Some of the music, is older like ÒNo RespectÓ by Kool Moe Dee.
DiCillo: IÕve always wanted to use that piece by Kool Moe Dee, ÔNo Respect.Õ ThatÕs an old piece. ItÕs from the early 80s, now they call it Òold school.Ó I tried
to use it in another film. I just think
what the bass is doing there is very cool. ItÕs got an emotional thing. You donÕt have to turn it up loud to enjoy it. You just wanna. HeÕs got a great sense of humor, and musically it was quite engaging.
Jungle Bill -- Yello
Urdang: ÒJungle BillÓ by Yello is another older track. Tom plays music. He knows
what he wants. In that case, it was
really great working with him. He just said, ÔI like this, I donÕt like this. That works, that doesnÕt work.Õ He knew what he wanted. We all knew what he wanted. It was just finding the music that worked.
DiCillo: This is from their latest
album. IÕve always found their music dramatic -- it has all the elements of drama. IÕd love to have them do as score for me. Their music is incredibly cinematic. It makes this scene, a photo
shoot of two bare-chested bikers attempting to rape a woman on a motorcycle,
seem like a spiritual event.
ÒVanishing PointÓ -- Apollo Four Forty
Urdang: ÒVanishing Point,Ó by Apollo Four Forty is brand new.
DiCillo: The film itself tries to create a
new, slightly artificial world. I wanted the music to do the same thing. It had
to have some comedy. It had to have some real humanity. It was an extremely difficult thing, trying
to find this kind of music. It was a real turn on to hear Apollo Four
Forty. First of all, itÕs quite sophisticated musically. TheyÕre doing different things with music and lyrics. And the music has a sense of humor. I like that.
Urdang: The music we needed, we realized, was
energetic and funny. Yet, we wanted it
to work with the film. We wanted the
people who saw the film to know the music and like the music.
ÒThe Real BlondeÓ -- Jim Farmer
DiCillo: The guy did an incredible job. ItÕs even a point of note that he scored all of my films. This is my fourth film that he has scored. ThatÕs pretty damn rare in this business.
Farmer: Absolutely. Tom and I said it should sound like Hannah-Barbera meets Peter
Gunn at the Cotton Club. Beatnik with a little cotton club thrown in there.
DiCillo: Yeah, isnÕt that great? I kind of came up with that idea when I listened to two things: Peggy Lee, ÔFever.Õ Then thereÕs this incredible record by Duke Ellington
Afro-Eurasian Eclipse. This
record was instrumental to both Jim and me in terms of coming up with the real
blood of the score. ItÕs some really incredible music. ItÕs very cool music. It sounds timeless. It doesnÕt sound like big band. ItÕs just unbelievably beautiful. Then, Jim just took off and he came up with it.
ÒInhalerÓ -- Hooverphonic
Urdang: ThereÕs a lot of music thatÕs coming out of London that you might not have heard of yet. Some of it you might. ÒInhalerÓ by Hooverphonic is playing now.
DiCillo: I think that trip-hop is one of the
more musically interesting movements lately. It does tend to be a little glum,
but I like it musically in terms of the atmosphere.
ÒA Martini For ManciniÓ
Urdang: ÒMartini For Mancini'Ò is a Joey Altruda song. HeÕs really moving up right now. HeÕs part of that whole nuevo-lounge scene.
DiCillo: It has a playful energy. The scene happens in a restaurant. A lot of restaurants try to establish an
edgy atmosphere with the music they play. It supports the scene but doesnÕt force it.
Vaquero -- The Fireballs
DiCillo: This is a very personal piece of music. The Fireballs are a Ôpre-surfÕ band from the mid-fifties. I fell across them while choosing music for Box Of Moonlight. Some of the most interesting surf music had an ethnic flavor, like Dick DaleÕs ÔMisirlou.Õ The Fireballs influence was Mexican music. This tune sounds like some of MorriconeÕs early work.
ÒStolen Dog JamÓ -- Jim Farmer
DiCillo: ThereÕs a fifteen second cue where a dog gets stolen. The music for that had
such great energy I told the guys to jam on it and see what happens. It was a
great group of New York musicians. The resulting take was unrehearsed and is
here just as it was recorded. The sax was all played by one guy name Crispin
Cioe. He also served as JimÕs arranger. We had two and a half days in the Edison Recording Studios. I have to tell you, it was better than any drug IÕve ever taken.
Farmer: Tom is musically very informed. He knows what he wants and he knows what he
likes. HeÕs very musically astute. ItÕs a great collaboration and we have a lot of fun when we work on this stuff.
ÒReferendrumÓ -- Fluke
DiCillo: There are actually two Fluke pieces in the film. ÒAtom BombÓ is genuinely infectious. ÒReferendrumÓ is more hypnotic and emotional, less dance oriented. It has an odd sort of drive and beauty to it.
Urdang: Fluke is brand new. A lot of the music, people will recognize, especially if they listen to modern stations. Some of the music, people arenÕt going to recognize, but it works very well with the film.
ÒAnthemÓ -- Jeff and Joan Beal
Urdang: I love the Jeff and Joan beal
song 'Anthem,' at the end when the dog is walking down the street. That song is great. I think thatÕs hysterical, that last scene with the dog.
DiCillo: This is a bit more on-the-nose emotional than what I usually go for. ItÕs justified every now and then. It makes people smile and cry. What a way to end a film.