Morricone provides the soundtrack for Tarantino's upcoming movie, out December 25th in the US and January 8th in the UK.
Ennio Morricone, the legendary composer who has written the scores for many classic movies, has admitted that he was “shocked” by the amount of violence in Quentin Tarantino’s new film The Hateful Eight, for which he has provided the soundtrack.
Tarantino has used pieces of Morricone music in his movies before, but the imminently released project constitutes the first time that the Italian composer has written original material specifically for one of his movies. Speaking to The Telegraph at an event at London’s Abbey Road Studios, he spoke of his motivation for working with Tarantino.
Ennio Morricone provides the score for Tarantino's new movie 'The Hateful Eight'
Ennio Morricone - Celebrities attend the European Premiere of The Hateful Eight at Odeon Leicester Square in London. Legendary auteur Quentin Tarantino will bring his highly anticipated eighth film THE HATEFUL EIGHT to the big screen on 8th January 2016. The film will open in glorious 70mm in London's West End alongside a theatrical digital release nationwide. Beloved by filmmakers and cinephiles for its wide-scope and high-resolution image quality, 70mm stock captures nearly twice the landscape of the more common 35mm and digital styles. Six or eight or twelve years after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Kurt Russell) and his fugitive Daisy Domergue (Jennifer Jason Leigh), race towards the town of Red Rock where Ruth, known in these parts as "The Hangman," will bring Domergue to justice. Along the road, they encounter two strangers: Major Marquis Warren (Samuel L. Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix (Walton Goggins), a southern renegade who claims to be the town's new Sheriff. Losing their lead on the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie's Haberdashery, a stagecoach stopover on a mountain pass. When they arrive at Minnie's, they are greeted not by the proprietor but by four unfamiliar faces. Bob (Demian Bichir), who's taking care of Minnie's while she's visiting her mother, is holed up with Oswaldo Mobray (Tim Roth), the hangman of Red Rock, cow-puncher Joe Gage (Michael Madsen), and Confederate General Sanford Smithers (Bruce Dern). As the storm overtakes the mountainside stopover, our eight travelers come to learn they may not make it to Red Rock after all... Written and directed by Academy Award® winning writer/director Quentin Tarantino, THE HATEFUL EIGHT is produced by Richard N. Gladstein, Stacey Sher and Shannon McIntosh. Harvey Weinstein, Bob Weinstein and Georgia Kacandes are executive at Odeon Leicester Square - London, United Kingdom - Thursday 10th December 2015
Quentin Tarantino, speaking at Comic-Con 2015, announced Ennio Morricone is composing the score for ‘The Hateful Eight’.
Ennio Morricone is set to write the score for Quentin Tarantino’s The Hateful Eight. He is best known for composing music for a number of Italian (Spaghetti) Westerns including the Dollars Trilogy, The Good, the Bad and the Ugly, and Once Upon a Time in the West. The 86-year-old Italian composer is returning to writing film scores after eight years away but it has been more than forty years since he worked on a Western.
Quentin Tarantino at San Diego Comic-Con 2015.
Ennio Morricone - Legendary Italian composer Ennio Morricone received a Volta Award from Jameson Dublin International Film Festival at The Light House Cinema, Dublin - Dublin, Ireland - Sunday 28th July 2013
Well, this is the soundtrack to a western, but it's also the soundtrack to the bloody new vision of Quentin Tarantino so while it hints at it, it's not exactly the most classical collection of dusty old desert songs you could imagine. It's a soundtrack that packs just as many punches as his movie and brands those wincingly visceral scenes into your mind as if it was an 'r' on Jamie Foxx's face.
From Ennio Morricone to Rick Ross it's a thrilling OST that somehow manages to modernise the western without completely ruining it in the process, I mean perhaps Rick Ross out of context is a little jarring, but John Legend's 'Who Did That to You?' is the smarmy second gun in Foxx's hand after you think he's all out of bullets. It's drawling guitar line wails with a lone gunman swagger as Legend's R&B vocals cry out with an over the top pulp. This more than any other song on the soundtrack encapsulates your thoughts of not what a Tarantino western is, but what it should be.
It's difficult to pick out tracks here that are better than the rest, they're all good, but this isn't a record in the usual sense, it's a soundtrack, obviously, and therefore it's about the feeling it brings with it and Tarantino's choices of tracks like 'Freedom' ring with the authenticity of classic slavery hymnals. It's a record that feels as sadistic and redemptive as the tale is on screen and it's a testament to these musicians that you don't need to see the film to understand the tale. It's spliced with some of the finest cuts of dialogue and death from the movie which add an extra layer of texture to this inspired collection and mean that you get to hear Christoph Waltz say, 'five thousand dollar n***a, that's practically my middle name' as much as you bloody well please.
A mixed week for US albums releases; old classics given an airing, a major movie soundtrack launched and hip-hop arTIsts new and old having a stab at chart success. Currently, the top of the US album chart is dominated by Taylor Swift, who’s back at the top with Red, Wiz Khalifa, riding high at number two with O.N.F.C. and Rod Stewart’s festive compilation album, Merry Christmas, Baby.
Eric Clapton’s Slowhand gets a 35th anniversary reissue, having been remastered from the original “1/4 tape. There are four album session outtakes, entitled ‘Looking at the Rain,’ ‘Alberta,’ ‘Greyhound Bus,’ and ‘Stars, Strays and Ashtrays.’ A second disc contains a live performance at London’s Hammersmith Odeon, from April 27, 1977.
One for the completists, then – and more a case of Clapton’s record label rubbing their hands in glee at a cash in, than any real significant moment in his career. The re-release of Slowhand has hardly set the music press alight and we probably don’t need to fetch any fire blankets for the albums chart, either.