Movie Music--Bottle RocketThe Proclaimers: Over and Done With

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"Over and Done With"
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Jonny Greenwood: Prospector's Quartet

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View the trailer for "There Will Be Blood":

Wes Anderson: "Hotel Chevalier" (Prequel to "The Darjeeling Limited")

Listen to "Where Do You Go To (My Lovely)" by Peter Sarstedt:

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Movie Music: "Less Than Zero"The Bangles: Hazy Shade of Winter (Simon and Garfunkel Cover)

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What will the new Wes Anderson sound like?

Alan McGee writes in the Guardian:

The release of the trailer for the new Wes Anderson film, The Darjeeling Limited has set tongues wagging about what he's going to do with the soundtrack: Who will be on it? What will be the theme? Is he going to use Mark Mothersbaugh, lead singer with Devo and all-round genius to compose the score?

Whatever the answers to these pressing questions, the discussion around the next Wes Anderson soundtrack makes me reflect on the terrible fate that has befallen pop soundtracks. The golden era was in the late 60s to the mid 70s; think Midnight Cowboy, The Graduate and Easy Rider through to Shaft and Superfly. When you put the record on, you're transported straight back in to the world of the film.

Then soundtracks lost the plot. I remember purchasing Batman Returns because of Mazzy Star's inclusion on the album. The liner notes said that the song was there because it provided "inspiration" but didn't actually feature in the film. When did soundtracks become clearing houses for music publishers and tools for marketing men? It would seem the great days have passed us by, leaving us with bargain bins of nu-metal guy rock "inspired by" superhero movies.

While promoting The Life Aquatic, Anderson talked about his favourite soundtracks: Mean Streets, Toby Dammit (the third movie of Fellini's Spirits of the Dead trilogy), The Graduate, Harold and Maude and Woody Allen's films. Yet it seems that Anderson didn't fully realise the importance of a soundtrack to his own work until his first film Bottle Rocket was released to a terrible reception. It was pulled and he was told to retake the film with music, a fortunate move as it began the partnership between Anderson, Randall Poster (an infamous synth guy) and Mark Mothersbaugh.

The partnership of Anderson and Mothersbaugh is comparable to Fellini and Nino Rota, both in the symbiotic way the partnerships work and the spacey, kitschy sounds they often employ. However, it's Harold and Maude and The Graduate that both used pop music to demonstrate the deepening alienation of the main characters - who could forget Benjamin's ennui and despair set to Simon and Garfunkel's Scarborough Fair?

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Listen to "This Time Tomorrow" by The Kinks:

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"The Darjeeling Limited" Trailer:

Movie Music: "The Royal Tenenbaums"The Velvet Underground: Stephanie Says

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Movie Music: "Rushmore"The Rolling Stones: I Am Waiting

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Movie Music: "The Rules of Attraction"Donovan: Colours

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As heard in this scene:

Movie Music: "Rushmore"John Lennon: Oh Yoko

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As seen in Herman Blume's Training Session:

The Rolling Stones: She Smiled Sweetly

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As Heard in Richie's Tent: