Bo, a middle-aged shipwreck played by Joaquin Phoenix “bo is afraidA surreal black comedy about being harassed, beaten, stabbed, even kidnapped, and a three-hour panic attack that defies conventional cinema. (Think of it as a compliment, in the hands of the deeply disturbing author Ari Aster, famous for “Hereditary” and “Midsommar.”)
Thanks to his huge mother, he’s become a man who gave up a life without love or companionship. Fit, disharmony, is a late chance for romance with childhood crush (Parker Posey).always be my baby’” As is often the case with Beau, things go lewdly and catastrophically from there, but the song continues.
When it premiered at the Metrograph Theater in Manhattan earlier this month, a room full of industry insiders, press and celebrities, including Phoenix and actor Robert Pattinson, gasped and cheered in unison in recognition. . How the Queen of 5 Octave Pop Was Created here? There was no second choice for Aster.
“Ali wrote the first draft of the script over a decade ago and ‘Always Be My Baby’ has been there from the beginning,” said his production partner, Robert Eggers (“The Norseman”). Mike Mills (“Beginners”). “I honestly didn’t realize how essential and important it was to him to get that song until I did the edit, but I knew it would be very expensive and Mariah might not approve. I was like, ‘I’ll try, but maybe I can’t.'”
Nevertheless, Astor wrote to the singer what Knudsen called “a very beautifully written letter” appealing his case. She probably said yes. When she first received the request, Carey said in her email: So when I saw that scene, I was a bit shocked at first because of my disrespectful personality (laughs), but I quickly understood the importance of that moment.
She continued, “I’m really happy that people are responding to it. I’m thrilled that Ali has been recognized for his talent, creativity and artistic vision.”
(A few days after the Metrograph screening, Carey briefly set the internet ablaze when she appeared to shine on the red carpet alongside Posey and Astor in the film’s formula. new york premiere, shining in black leather. )
“Beau” is the most prominent recent example of an indie film, much of which seems to have originated with tastemaking studio A24. They’re betting their best hopes on getting the rights to instantly recognizable and often prohibitively expensive pop songs. A successful pairing can benefit from the zeitgeist for projects that rely more on word-of-mouth than marketing (and, of course, to fulfill the creator’s very specific vision).
2021 writer-director Sean Baker (Florida Project)’s hit festival ‘Red Rocket’, about a miscarried porn star, will perform ‘N Sync’s flexible boy band anthem ‘Bye Bye Bye’. Please remember. Or Paris Hilton’s featherweight bop, “Stars Are Blind,” offers a rare moment of levity in the bleak, hard-candy noir of Emerald Fennell’s 2020 “Promising Young Woman.” increase.
In movies like Guardians of the Galaxy, Marvel Studios has taken on the full use of hits by David Bowie, The Jackson 5, Marvin Gaye, and more. (Franchise director James Gunn once said he paid ‘a million dollars’ However, for smaller independent projects like “Aftersun,” tracks like “Under Pressure,” the dreamy elliptical father-daughter drama from first-time director Charlotte Wells and the Queen and Bowie anthem, have disastrous effects. brought The climactic scene could easily consume your entire budget.
This is where a very personal appeal to the artist or estate holding the rights to the song comes into play. In “American Honey” (2016), a sexually outspoken verité road trip with a largely unknown cast, British director Andrea Arnold asked for permission after the fact or completely re-edited the film. I had no choice but to do it. Tracks like Rihanna and Calvin Harris’ “We Found Love” were woven into pre-filmed scenes rather than layered.
In that case, Knudsen, who also produced “Honey,” said both artists were sufficiently impressed with the material to not only give permission, but offer friends and family discounts. If the studio gets bigger, obviously you’ll have to pay full price,” he said. “But we were a sub-$5 million movie, with a reputable director trying to tell this very personal story that the song was at the center of it, so I think it definitely helped.”
Of course, in the right circumstances, less-anticipated collaborations like this can be very helpful to musicians, even if they cut their fees.
“Publishers and artists understand when you make a strong case,” says Knudsen. “‘American Honey’ was performed in competition at Cannes and released on A24. Without the sliding scale, no independent film would have been able to use these songs in their film. “
For directors like Arnold and Astor, those scenes become signatures. And for some moviegoers, “These songs are going to be in very different places in their minds. So that’s good for everyone, right?”
Little indie, big song
“After Sun”: David Bowie and the Queen’s Classic Supported by “under pressure” The moving climax of this impressionist 2022 drama saw Paul Mezcal nominated for an Academy Award for Best Actor.
“Red Rocket”: Bookend for ‘N Sync’s 2000 hit “Bye Bye Bye” This shitty 2021 moviea character study of a prodigal porn star (Simon Rex) who returns to his Texas roots.
“Promising Young Woman”: Paris Hilton’s “Stars Are Blind” A rare moment of connection This highly stylized 2020 neofeminist revenge tale rewards two scarred characters.
“American Honey”: Rihanna and Calvin Harris’ banger “We Found Love” becomes something of a central theme for the conflicted lovers played by Sasha Lane and Shia LaBeouf in this 2016 road movie.
“spring breakers”: Britney Spears’ Lacrimose 2003 Ballad “Everytime” Plays In this 2013 nihilist comedy, a gang of pink balaclava-wearing girls turn to crime led by dementia-afflicted James Franco.
