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Ultimately, Baz' decision, in consultation with the Record Company, Interscope. Apart from issues of commerciality, the experience of listening to a soundtrack LP is not the same as that of watching a movie; and whilst the MR record is absolutely commensurate with the world of the film, it is a record and had to be constructed as such.
Do you foresee any "Moulin Rouge, Vol. Let's see how the first one does first! After finishing my work on MR I decided I needed to get back to making records for a while after so much time out from the record industry during my Sydney exile I did little more than a couple of radio mixes for David Bowie - his singles "Seven" and "Survive". So my first project was to help Bjork finish her forthcoming record I've worked with her since her Sugarcubes days.
That was fun, apart from the fact that I adore working with her anyway, because she was fresh off Dancer in the Dark so we spent many long evenings comparing notes about the pain involved in creating musical movies!! My next film project will be early next year but I'm not allowed to talk about it yet. SoundtrackNet also had an opportunity to talk with Music Supervisor Anton Monsted about his work on the film.
As Music Supervisor on the film, you were tasked with the enormous job of licensing the previously existing songs for use in the film. Actually, the music licensing costs for the film were lower than reported, mainly because so many of the major publishers and songwriters involved all gave the project enthusiastic backing; I think they all saw an opportunity to bring new life to some old copyrights e.
Music licensing isn't really newsworthy stuff, so there is not an abundance of interesting stories. Baz went and met with all the major publishers very early in the project to explain what he was making, and how he wanted to use the great songs of the last century to tell this story. I think this helped us have greater flexibility to use the songs in a storytelling way; the publishers were not on the defensive, and trying to figure out why we needed to change lyrics to make a scene work.
Our only real problem was trying to license the Cat Stevens song "Father and Son". Baz had a brilliant opening scene written involving Christian and his father singing this song as dialogue to explain why Christian needed to escape England for bohemian Paris of The reason for the knock back was that the film did not match the current religious beliefs of Cat Stevens - this is of course perfectly valid and something Baz and the rest of the team completely respect.
It was recently this past week! Since you had already gotten clearance to use the song obviously beforehand, and Love had the sequence removed because of her personal dispute with Manson, what are your thoughts on this new development, and do you think it will affect the sequence in the film?
This report is slightly exaggerated. If we had to remove it, we wouldn't have an opening number!! It is an enormous honor and privilege to be able to use the song it has never been licensed before and part of the deal in securing use of the song was a commitment to Courtney Love that we would treat its use with the utmost respect.
You will see that it is very much a part of the opening sequence of the film; it simply does not feature lead vocals by Manson. In the film, the part of the moon in a few songs was sung by Opera tenor Placido Domingo. Satine comes to the Duke and everyone waits. Argentinian sings. Zidler makes Satine tell Christian she doesn't love him. Christian returns to the Moulin Rouge one last time. Satine dies and Christian mourns over her. Then he decides to write their story.
A love that will live forever". See more Playbill Playlists here , and follow Playbill on Spotify for all of your ear candy needs. The Musical By Ruthie Fierberg. Buy Tickets to Moulin Rouge! The Musical! Graphic by Nathan Skethway. Playbill Playlist. A playlist featuring musical theatre songs and scores inspired by country music. Playbill Playlist: All Things Instrumental. From iconic overtures and entr'actes to instrumental covers and mash-ups of beloved show tunes, this playlist is perfect adding a little theatrical flair to your day.
Playbill Playlist: Broadway Remixed Edition. A playlist featuring remixes, samples, and covers of musical theatre songs from recording artists like Ariana Grande, JAY-Z, Metallica, and more. Playbill Playlist: Melancholy Melodies Edition. A playlist full of emotional ballads for when you're feeling moody and gloomy. Playbill Playlist: Pop Productivity Edition. Frenetically edited against a kinetic backdrop of high-kicking and skirt-swishing, the scene efficiently communicates the thrill and the strange danger of the nightclub.
She wins him back — and Toulouse warns him that the Duke is trying to kill him! Nothing like live theatre! The tension ramps up as the whole company joins the dance and the camera cuts to Satine, accepting a breathtaking diamond necklace from the Duke and then having it ripped from her neck when she fails to conceal her true feelings.
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