The recent Watchmen film is a good example of this, with the Dr Manhattan on Mars sequence using Philip Glass's Koyaanisqatsi. Sometimes this music fits so well that it's hard for the director to consider replacing it.
#Kick ass 2 soundtrack movie
To get the film feeling more like a film in the early stages of completion, scenes are often cut to existing movie scores as a temporary placemat. What may have happened with Kick-Ass is a case of temp-track love. I've lost count of the number of trailers I've seen that used James Horner's Aliens, Hans Zimmer's Crimson Tide, Clint Mansell's Requiem for a Dream and, yes, Murphy's 28 Days Later.
The most common usage of existing soundtracks is in movie trailers, understandably as most trailers are cut when the movie is still in post-production. More often than not it's used for humorous reasons: John Williams's Jaws theme became a joke in itself when employed in Airplane!, Caddyshack II, Half Baked, K-9 and many, many others. Sometimes such appropriation can be used as a form of shorthand – as with Edgar Wright's usage of a snippet of Goblin's music from Dawn of the Dead for Shaun of the Dead, which reassured zombie movie fans that they were in safe hands. Scorsese has some history of this too, such as using part of Georges Delerue's Le Mepris soundtrack for a dramatic scene in Casino. With Tarantino's films I enjoy getting to hear music I'd only heard on VHS copies of films, all polished up, blaring out of cinema speakers, back where they belong. His choices are relatively obscure and a nice treat for movie buffs. It's nothing new re-using movie music: Tarantino exclusively soundtracks his films to existing songs and film music, usually deciding on which tunes to use at the scripting stage. Kick-Ass reuses his scores, his highly recognisable scores that have previously been heard not only in the movies for which they were written, but also achieved omnipresence on trailers, adverts and TV. As the movie progresses there's more from Murphy, what sounds like his music from Sunshine. It's Murphy's music for 28 Days Later, one of the variants of In the House – In a Heartbeat.
Would it stand out from the others? Yes, it does, but for all the wrong reasons.Īs the movie ramps up for the lengthy, action-packed finale the music is clearly Murphy's. As someone who has enjoyed John Murphy's work for Danny Boyle's 28 Days Later and Sunshine, I was looking forward to hearing his contribution in particular. Now that seemed interesting, four fairly prominent names in the soundtracking business working together on a movie. The "music composed by" credit lists four names: John Murphy, Henry Jackman, Marius De Vries and Ilan Eshkeri. In the opening titles there's something a little unusual. It's up there with Iron Man and The Dark Knight as one of those superhero movies that does so much right that it'd be churlish to even mention any shortcomings. While they seemed smug and complacent in their competence, Kick-Ass is far more assured, with much more verve and character. Both those films seemed to be the work of a director who had surrounded himself with a highly talented cast and crew while displaying no directorial presence himself: as a director he made a great producer. From beginning to end the film is a joy, a pleasant surprise to someone like me who had been massively unimpressed with Matthew Vaughn's previous movies, Layer Cake and Stardust.
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