I’ll be honest Chris, the lack of trans and disabled artists on the soundtrack ruined my enjoyment. If they had a bit of Ian Dury and Conchita Wurst on it it would have gone from a 6/10 movie to a 9/10.
I think it was the least of her concerns, but I noticed it too. It’s kind of weird for a kid whose mum was a singer, and whose iPods are filled with pop music. It’d be different if he was a prog and metal fan where the gender split is more uneven.
If the film were being made now, when music festivals are addressing their lineups, and the music industry is examining biases, the song choices might have been different (and it wouldn’t have resulted in a weaker film. Though my wife would still hate it).
Probably not, I get the sense the song choices were largely dictated by Wright’s personal taste in music.
Yes it would be very difficult for him to change the soundtrack if you listen to him speak about the background of the film. He basically had the idea when very young to play the action to music and had the specific tracks in mind for maybe 15-20 years. One of the things he spoke about was how lucky they were that they had clearance for every one he asked for and they did it before they started filming (the inference being if he didn’t get most of them they’d have called it off).
To be fair, that’s no less likely to happen with songs with female vocalists.
I suffer from the same bias, mind - my iPod is filled with probably 95% male vocalists.
Hey, maybe the sequel will be more equal.
It’s not really the point Andrew. The important element is if he didn’t get the clearance he wanted he’d have called off making it.
It would be nice if the songs he wanted featured female vocalists but the vision was the very specific tracks to very specific scenes, they are timed to the rhythm and emotion of the music, it is very rare scenes are devised with a soundtrack in mind, usually it’s tacked on later but not in this film. You can’t just switch stuff out.
It may be the only example where this is the case, that really stood out for me and why it is different despite the rather stock characters it uses.
Hold on and i’ll change tastes in music now to ensure diversity in what I like to listen to.
If you can provide a pre prescribed list of the music Im allowed to listen to that would be great.
It’s ABBA Gold or nothing.
To be fair back though music, like comedy, can be very much down to personal taste.
It would be daft for Wright to have changed what he envisioned but if you don’t like that kind of music then I can also see why it fails on a personal level. I lived for 4 years in the biggest Indian community in Malaysia, the music was all around and I hated the female vocalists, not because of any gender or racial politics, it was just too shrill. It felt like fingernails up a blackboard, to me.
If Andrew’s wife prefers female voices in her music, and they do sound different, then I can understand it is not her cup of tea because of that.
And I think it’s fair enough to say ‘didn’t like the music’
But pointing out the gender imbalance on the tracks on the soundtrack to a film has just taken things to a whole new level of madness.
It is definitely the first time I have heard that conplaint.
Being a big fan of Baby Driver, I’m glad that we’re finally getting the score released. Not sure why it took so long though?
This is going to get me hyped enough to watch the film a few more times, for sure.
As far as watching stuff goes, I saw the new Death Wish last night. I thought it was fine and fairly enjoyable. The way that it shows how the videos of the Grim Reaper go viral remind me of the approach that Colossal took last year. Bruce Willis is fine here, but this definitely isn’t some big comeback film for him. Hopefully he’s more invested in Glass.
Speaking of Spacey:
Greg Davies’ new stand-up special on Netflix, You Magnificent Beast, is pretty good, especially if you’re a fan. It’s very much in his comfort zone - absurd family anecdotes, and flirtation with sentimentality before bringing things back down to Earth with something crude and base - but it works. The ending fell a bit flat for me but I enjoyed the rest of it.
Cunk On Britain episode two was very amusing again.
I think what I like with these kinds of shows is not just the gags and amusing interviews, but also the way that they ape the crap conventions of factual programming in quite smart ways - the over-simplifications, the naff dramatisations, the attempt to liven up still images with a moving camera or sound effects or music (it was the sirens over a picture of the great fire of London that tickled me this week).
It reminds me of The Day Today in the way that it’s broad and absurd and silly, but also quite subtle and well-observed in its own way.
I was pleasantly surprised to realise it’s a five part series. For some reason, I thought it was only two.
2009’s LEGION movie is entirely in your face with its crazy combination of THE TERMINATOR meets THE OMEN meets THE PROPHECY premise. I mean, it’s not trying to hide it at all, and it is pretty fun.
On top of that, the entire setting is basically MAXIMUM OVERDRIVE which is just an added bonus to the too cult to exist feel the director obviously is going for. I can’t believe this spawned an entire television series, but, on the other hand, ASH VS EVIL DEAD is pretty much the same thing.
Ohhh the Expanse returns tonight… hype!!!
You always seem to get very riled up about these things.
It just seems to be a thing of the moment - it is weird that so few female directors make it as there’s no inherently male aspect to storytelling. It is weird that music festival line-ups are male dominated. It is weird that we don’t think anything of female friends listing male directed films or male written novels among their favourites, but at the same time don’t think anything of males only having other males as their favourites - like I said, I’m guilty of it too; with regard to music and film.
Even if you didn’t notice the playlist being pretty much all dudes, once pointed out it should strike as weird.
I just like what I like - the gender of the person behind it is of no relevance to me whatsoever.
I wouldn’t find it weird if a soundtrack was all female led in the same way I don’t find it weird that about 90% of vocal house music has female vocals (I generally dislike male vocals in dance music with a handful of exceptions - but it’s down to nothing other than personal taste. Is there a reason why there are more female vocals on house tracks than male? Maybe it just sounds better and they can hit certain notes better, but not really interested in the why).
Some people are just looking for problems whether they are there or not. By drawing attention to this stuff so forcefully one is highlighting that there is a difference between men and women. I thought the whole point in this is that it shouldn’t matter what your gender is.