Why Quentin Tarantino's Music Defies All Expectations — Directing Styles Explained

Summary

In StudioBinder's latest video, "Why Quentin Tarantino's Music Defies All Expectations," we dive into the ingenious ways Tarantino integrates music into his films. Known for bucking trends, his utilization of songs like David Bowie's in unlikely scenes creates standout cinematic moments. Whether choosing diegetic or non-diegetic music, Tarantino carefully selects tracks that become integral to the narrative and character experience, often penned directly into his scripts. His music choices are not just about setting a mood but also about throwing the audience off balance, adding unexpected layers to the viewing experience. The video explores how these unconventional music decisions contribute to Tarantino's signature style.

Highlights

• Tarantino's surprising music choices, like the use of a David Bowie song in unexpected scenes, keep audiences engaged. 😮
• Diegetic music, where characters interact with the music, adds depth to the storyline, as seen in many Tarantino films. 🎤
• He meticulously selects tracks that reflect the characters' personalities, enhancing the storytelling. 📜
• His love for vinyl records fuels his creative process, making music exploration a key part of developing his film's identity. 📀
• The use of abrupt musical cuts in scenes creates a dramatic effect, leaving the audience anticipating what comes next. 🎵

Key Takeaways

• Quentin Tarantino often uses unexpected music choices to enhance his films, defying conventional norms in cinema. 🌀
• Music in Tarantino's films is integral to the narrative, often being written into the script, which shows his dedication to this aspect of filmmaking. 🎶
• Tarantino's skills in using both diegetic and non-diegetic music lead to unique storytelling experiences that engage and surprise audiences. 🎬
• His technique of abruptly starting or stopping songs adds to the emotional impact of scenes, keeping viewers on edge. 🎧
• Tarantino's comprehensive approach to music selection includes using his personal vinyl collection to find the perfect tracks for each film. 💿

Overview

Quentin Tarantino has a knack for surprising his audience, and his music choices in films are no exception. Unlike many directors who opt for predictable soundtracks, Tarantino selects songs that challenge expectations, increasing the drama and impact of his scenes. Whether it’s playing David Bowie in a western setting or blending Tupac with James Brown, Tarantino's unconventional music choices enhance the storytelling, offering a fresh perspective on how music can influence cinema.

Music in Tarantino's films starts at the script stage, where songs are often written into the narrative. This approach underscores Tarantino's understanding of how music can interact with the storyline to shape characters and plot dynamics. Diegetic music, where characters actually hear and engage with the songs, plays a significant role in his films, offering insights into the characters’ inner worlds and enhancing the film’s authenticity.

Tarantino’s determination to select the perfect tracks is evident in his extensive use of his personal vinyl collection. By matching music with the film's themes and moods, he creates a cohesive viewing experience that resonates emotionally with audiences. His deft use of musical transitions—abrupt cuts or fades—adds to the emotional tension, making his films a masterclass in the art of integrating music with storytelling.

Chapters

• 00:00 - 00:30: Iconic Music in Film The chapter explores the significant role that iconic music plays in creating memorable moments in cinema history.
• 00:30 - 01:00: Subversion in Music Choices The chapter discusses the innovative use of music in films. It highlights how some filmmakers opt for conventional music choices, such as hard-rock for action scenes or haunting music for suspenseful moments. However, the chapter emphasizes the impact of directors who take risks by choosing unexpected music, which often results in more memorable scenes.
• 01:00 - 01:30: Tarantino's Unique Approach The chapter explores Quentin Tarantino's distinctive use of music in films. It highlights how Tarantino makes unconventional and subversive music choices that defy expectations, yet remarkably succeed. The discussion includes Tarantino's enjoyment in integrating modern pop songs into movie scenes and adjusting scenes to fit the music.
• 01:30 - 02:00: Diegetic Music Usage The chapter titled 'Diegetic Music Usage' explores how director Quentin Tarantino creatively employs music in his films. An example highlighted is Tarantino's choice of songs that often defy traditional expectations, adding a unique layer to his storytelling.
• 02:00 - 02:30: Stuck in the Middle with "Reservoir Dogs" The chapter titled 'Stuck in the Middle with "Reservoir Dogs"' discusses Quentin Tarantino's distinctive use of music in his films. It highlights his ability to blend different musical genres and eras, such as playing a David Bowie song over a pivotal scene or creating a mashup of Tupac and James Brown for a western movie. The chapter emphasizes that Tarantino considers the integration of music into his movies to be a critical element of his storytelling.
• 02:30 - 03:00: Character Connections Through Music In this chapter, the focus is on how music is used to create connections between characters and enhance storytelling. The screenplay of a scene is imported into StudioBinder for analysis, highlighting intentional choices made by the writer. The example given is a scene from 'Reservoir Dogs' featuring the song 'Stuck In The Middle With You' by Stealers Wheel, which was chosen naturally and plays a significant role in the scene.
• 03:00 - 03:30: Mystic Songs and Unsettling Scenes The chapter titled 'Mystic Songs and Unsettling Scenes' explores the author's experience while writing a script and selecting music from their record collection. A particular song 'Stuck in the Middle with You' by Stealers Wheel is highlighted, as it plays in the background during a dark scene where a man's ear is cut off. The use of this upbeat song juxtaposed with the violent action amplifies the cruelty of the character Mr. Blonde and immerses the audience into his twisted mindset.
• 03:30 - 04:00: Collective Mindset in Music The chapter explores the impact of music in films, particularly focusing on how director Quentin Tarantino uses diegetic music, which is music that characters within the film can hear and react to within their world. It begins with an engaging scenario where the listener questions their own perceptions of music's impact, drawing a comparison to Tarantino's distinct style.
• 04:00 - 04:30: Diegetic vs. Non-diegetic Music In this chapter, the discussion centers around the use of music in film, particularly the differences between diegetic and non-diegetic music. Director Quentin Tarantino is highlighted for his unique approach, as he meticulously selects music that characters might realistically hear and interact with in the scenes (diegetic) or music that underscores the scene externally, influencing the audience's perception and emotion (non-diegetic). The transcript references Tarantino's ability to integrate music into his storytelling, creating an immersive experience by aligning character actions with specific soundtracks.
• 04:30 - 05:00: Tarantino's Private Music Selection Process In this chapter, the focus is on Quentin Tarantino's unique process of selecting music for his films. It involves creating a mixtape of songs that a character would have listened to, which helps in understanding the character on a deeper level. Listening to specific tracks like 'The Brothers Johnson - Strawberry Letter 23' and 'The Delfonics' enhances the audience's connection to the character. This method gives a more meaningful purpose to the choice of songs as they directly interact with the characters.
• 05:00 - 05:30: Using Music to Heighten Tension This chapter discusses the use of music to enhance tension in cinematic scenes. The focus is on an unsettling scene where joyful singing contrasts sharply with the grim activity of dumpster diving. Such a juxtaposition of music and action creates a sense of unease. The girls' singing, with lyrics tinged with surrealism and existential themes, further intensifies the tension. This illustrates how strategic musical choices can profoundly impact the audience's emotional experience.
• 05:30 - 06:00: Musical Cuts Signaling Change This chapter discusses the song 'Always Is Always Forever' by Charles Manson, highlighting a fascination with Manson's ability to manipulate and control people, particularly young girls and boys. The chapter reflects on the almost unbelievable power dynamics at play and the ongoing intrigue surrounding Manson's influence.
• 06:00 - 06:30: Synchronization of Music and Film This chapter explores the synchronization of music and film, highlighting how the more you learn about the subject, the less clear it may become. It illustrates this with the example of young girls singing in unison, which reflects their collective mindset and unwavering loyalty to a destructive leader. The chapter emphasizes that the impact of music in film can vary based on how it's used—specifically distinguishing between diegetic music (music that is part of the film's world and experienced by the characters) and non-diegetic music (background score that only the audience hears). It suggests that if a song had been merely added as a soundtrack, it would not have had the same powerful effect.
• 06:30 - 07:00: Impact of Music on Film Interpretation This chapter explores the significance of music in film, discussing the impact that a character performing a song has compared to music simply playing over a scene. It examines the difference between diegetic music (performed by characters within the film's world) and non-diegetic music (background scoring that the characters are not aware of). The chapter highlights Quentin Tarantino's frequent use of non-diegetic music in his films, showcasing how these choices influence audience interpretation and emotional response.
• 07:00 - 07:30: Dive Deeper Into Tarantino's Music Quentin Tarantino often draws inspiration from his extensive record collection when developing new movie ideas. He explores various genres to discover the right music that encapsulates the essence and spirit of his films. The selection process involves identifying tracks that contribute to the film's rhythm and personality, utilizing both underscoring and non-diegetic techniques where songs fade in and out of scenes to enhance the viewing experience.
• 07:30 - 08:00: Needle Drops in Film History In this chapter, the focus is on the use of 'needle drops' in film history, particularly within the works of Quentin Tarantino. The narrative discusses how Tarantino often employs unconventional methods by abruptly starting or ending songs to draw attention, as exemplified in the scene between the Bride and O-Ren Ishii in 'Kill Bill', set to the tune of 'Battle Without Honor Or Humanity' by Tomoyasu Hotei.

Why Quentin Tarantino's Music Defies All Expectations — Directing Styles Explained Transcription

• 00:00 - 00:30 Have you noticed how some of the most iconic moments in cinema history use Music? ♪ ♪ ♪ ♪ ♪ ♪
• 00:30 - 01:00 ♪ ♪ There's some filmmakers who are content with cues everyone expects, like hard-rock over an intense action scene. ♪ ♪ Or haunting drowns over suspenseful moments. But instead the scenes that really stick with us are when directors take chances. ♪ ♪
• 01:00 - 01:30 And if there's any filmmaker who understands this, it's Quentin Tarantino. "- I know how good it is." And he's accomplish this by making subversive music choices that defy expectations. "- It's a big part of the fun of modern movies is to have modern pop songs in your films and you kind of cut the scenes to them." So today, let's look at how Quentin Tarantino approaches music. And why so many of his decisions really shouldn't work, but they somehow do.
• 01:30 - 02:00 "- Let's go." ♪ Directing Styles - Intro ♪ Before you start grooving and shaking remember to subscribe and enable notifications by ringing that bell. The most obvious way Tarantino uses music is by choosing songs that go against the grain.
• 02:00 - 02:30 He'll play a David Bowie song over a moment like this. ♪ See these eyes so red ♪ ♪ Red like jungle burning night ♪ Or Tupac and James Brown mashup in a western. ♪ Am I wrong, 'cause I wanna get it on, till I die ♪ ♪ Am I wrong, 'cause I wanna get it on, till I die ♪ ♪ Get it on, till I die, get it on, till I die ♪ ♪ Y'all, y'all remember me? I like the way you die ♪ Tarantino takes music in movies very seriously.
• 02:30 - 03:00 To better understand how this scene is constructed, we imported the screenplay into StudioBinder. The choices he makes are undoubtedly intentional. So much so that he often writes them directly into his scripts. And a classic case of this is this scene from "Reservoir Dogs". ♪ Stuck In The Middle With You - Stealers Wheel ♪ "- I can't tell you where I got the idea for "Stuck In The Middle With You". It was just a natural. I was mucking around in my bedroom
• 03:00 - 03:30 when I was writing the script, diving through my record collection and but... I don't even think I had to look for it, it just was right there." ♪ Clowns to the left of me, jokers to the right ♪ ♪ Here I am, stuck in the middle with you ♪ It's one thing to have a dark scene. It's another thing to cut a man's ear off while playing this song. ♪ It's so hard to keep this smile from my face ♪ ♪ Lose control, yeah, I'm all over the place ♪ The song choice doesn't just amplify Mr. Blonde's cruelty. It puts you in the twisted headspace of the character.
• 03:30 - 04:00 "- Was that as good for you as it was for me? Ηey! What's going on? You hear that?" It was kind of fun. And funny. And you find yourself asking if you're just as twisted as Mr. Blond? Tarantino includes diegetic music as much as anyone. ♪ ♪ This is music the characters can hear in the world. ♪ ♪ Ever notice how often he has characters listening to music
• 04:00 - 04:30 or singing along? ♪ Girl, You'll Be A Woman Soon - Urge Overkill ♪ ♪ I love you so much can't, count all the ways ♪ ♪ I've died for you girl all they can say is ♪ It speaks to Tarantino's vision as a writer. He knows exactly what music he wants even at a script level. "- I could make a tape that your character would listen to. ♪ The Brothers Johnson - Strawberry Letter 23 ♪ If your character had a little mixtape of music that they liked,
• 04:30 - 05:00 I could make a mixtape that your character would've made." ♪ The Brothers Johnson - Strawberry Letter 23 ♪ And you understand the character a bit more when you know they listen to "The Delfonics". "- Who is this? - The Delfonics." In doing so it imbues a greater purpose to the song choice. Because the characters literally interact with it.
• 05:00 - 05:30 ♪ Always is always forever, ♪ ♪ as long as one in one ♪ Let's look at this scene. ♪ All is one, all is one, all is one ♪ Girls joyfully singing while dumpster diving is already unsettling. ♪ Illusion has been just a dream ♪ ♪ The valley of death and I'll find you ♪ ♪ Now is when on a sunshine beam ♪ Things get even weirder when we consider what they are singing. ♪ Never say never to always ♪
• 05:30 - 06:00 The song is "Always Is Always Forever", written by none other than Charles Manson. ♪ To seem is to dream a dream, my love ♪ ♪ 'cause one is one is one ♪ "- I think we're fascinated by it because at the end of the day, it almost seems unfathomable. How he was able to get these girls and even these young boys to just submit to him. And frankly the more you learn about it and the more information you get in,
• 06:00 - 06:30 and the more concrete it gets it doesn't make it any clearer, it actually makes it even more obscure the more you know." The young girls singing in unison points to their collective hive mind and their loyalty to a psychopath. ♪ As long as one is one ♪ ♪ Inside yourself ♪ ♪ for your father ♪ ♪ All is one, all is one, all is one ♪ If the song had been simply played over the soundtrack, we wouldn't have gotten the same effect. So when deciding between diegetic and non-diegetic music,
• 06:30 - 07:00 consider what it means to have a character perform a song, rather than it just play over a scene. The difference could mean everything. ♪ ♪ But Tarantino includes non-diegetic music AKA underscoring, as much as anyone. "- How I end up doing it my own? It's a real pretty private thing. I have a record room in my house
• 07:00 - 07:30 'cause I'm a big vinyl guy. That's in bins and it's broken down by genres. And part of my thing when I'm coming up with an idea is to go through those records and kind of find the music or the personality of a given movie. ♪ Battle Without Honor Or Humanity - Tomoyasu Hotei ♪ It's like I'm looking for the spirit and the rhythm that this movie needs to play it." ♪ Battle Without Honor Or Humanity - Tomoyasu Hotei ♪ When songs are used as underscoring or non-diegetically, they typically fade in and out of a scene,
• 07:30 - 08:00 so as not to attract too much attention. But by now you should know, that Tarantino likes to break the rules, so he will abruptly start or end the song. ♪ Battle Without Honor Or Humanity - Tomoyasu Hotei ♪ Just look at the showdown between the Bride and O-Ren Ishii in 'Kill Bill".
• 08:00 - 08:30 ♪ Don't Let Me Be Misunderstood - Santa Esmeralda ♪ It's a non-diegetic track, but Tarantino finds a way to relate it directly into the story. ♪ Don't Let Me Be Misunderstood - Santa Esmeralda ♪ The song cutting out is abrupt. The audience is thrown off guard, in the same way, the Bride is from the wound she suffered.
• 08:30 - 09:00 A similar effect is used in "Death Proof". ♪ Hold Tight! - Dave Dee, ♪ ♪ Dozy, Beaky, Mick & Tich ♪ Tarantino uses musical cuts to signal change in tone or focus. And it draws our attention to stop Mad Mike's sinister intentions. Anticipating something big is about to happen.
• 09:00 - 09:30 "- When you do it right, and the music and the movie kind of goes in sync with each other, for a sequence or so, it's just kind of like you're flying or you're skating. And those are always just some of the funniest parts to watch with an audience because they're really engaged." It's clear from his filmography that Tarantino loves music, but in the end his choices create a unique experience.
• 09:30 - 10:00 So when planning your own films, remember how the music influences our interpretation of the scene. Don't be afraid to subvert expectations, but make sure it ties back into your story or character. Note it in your script breakdown or pull a Tarantino and write it into your script. Just make sure you can get the rights first. In our blog post, we dive deeper into QT's music and what we can learn from them. Also be sure to check out our companion video on the art of the needle drop. Both links are in the description. What are some of your favorite needle drops in film history?
• 10:00 - 10:30 Let us know in the comments. See you in the next one. ♪ ♪