Author Topic: Great choices of music for the end credits  (Read 4243 times)

Re: Great choices of music for the end credits
« Reply #60 on: February 16, 2021, 12:39:13 AM »
The ending of Birdy,  the way it shifts from an intense hectic Peter Gabriel score, ends on a gag and then cuts to an upbeat 50s classic over the credits, has long been a favourite of mine.

https://www.youtube.com/watch?v=PiExTlrJhCo

Spoiler, obvs. If you haven't seen Birdy, then you must. It's a gem.

buzby

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Re: Great choices of music for the end credits
« Reply #61 on: February 16, 2021, 11:49:56 AM »
Staying political Lennon's Bring On The Lucie at the end of Children of Men works very nicely, the film itself being quite am effective counter to any claim the song is a bit simplistic.
Also having it followed by Jarvis Cocker's Cunts Are Still Running The World for the rest of the credits.

joaquin closet

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Re: Great choices of music for the end credits
« Reply #62 on: February 16, 2021, 01:33:45 PM »
Bizarre Love Triangle over the end credits of Demme's Married to the Mob.

The 80's baybeeee

Re: Great choices of music for the end credits
« Reply #63 on: February 16, 2021, 01:48:02 PM »
As obvious as it is I think The Lonely Shepherd swelling for Kill Bill 1 might be my favourite, wouldn't be surprised if that was the start point for making the whole thing.

Re: Great choices of music for the end credits
« Reply #64 on: February 16, 2021, 03:37:00 PM »
As obvious as it is I think The Lonely Shepherd swelling for Kill Bill 1 might be my favourite, wouldn't be surprised if that was the start point for making the whole thing.

Apparently, it was quite the opposite. I remember QT talking in an interview about how he struggled to end Kill Bill 1, having envisioned it as one long film, and he heard The Lonely Shepherd one night in a restaurant and only then did he realise he found the ideal piece of music - The panpipes, the mariachi vibe, the whole epic sound. Perfect for a kung-fu, spaghetti western revenge story.

Re: Great choices of music for the end credits
« Reply #65 on: February 16, 2021, 05:16:46 PM »
He did actually use it during the Hanzo segment as well although that might have been a late addition? doesn't seem like the scene is built around it compared to the Lily Chou Chou track.

DJ Bob Hoskins

  • Going mental in a dustbin
Re: Great choices of music for the end credits
« Reply #66 on: February 16, 2021, 09:13:12 PM »
Tarantino is generally great at this. The Lively Ones' "Surf Rider" at the end of Pulp Fiction is just perfect, especially juxtaposed with Jules and Vince in their borrowed shorts & t-shirts, tucking guns into their waistbands and heading off into the metaphorical sunset.

I've always found "Coconut" by Harry Nilsson at the end of Reservoir Dogs to be a strangely brilliant choice. Although in these enlightened times, I can't help but think the 'patois' accent it's sung in has a bit of a Goodness Gracious Me vibe about it.

Fight Club was mentioned earlier but a couple of other David Fincher ones I really liked were "White Rabbit" by Jefferson Airplane at the end of The Game, and Bowie's "The Heart's Filthy Lesson" at the end of Seven (or Se7en, if we must).

DJ Bob Hoskins

  • Going mental in a dustbin
Re: Great choices of music for the end credits
« Reply #67 on: February 16, 2021, 09:47:44 PM »
I can't think of a film that pulls that kind of trick with a final song choice and pulls you from the kind of dream reality of the film into the now

BlacKKKlansman. The ending of that was like a slap in the face, a punch in the stomach, a kick in the nuts and a bucket of cold water all at the same time. That's maybe more to do with what's happening on screen, but the use of "Mary Don't You Weep" by Prince was really effective.

Another good use of Prince which brought me as a viewer right back to reality was "The Cross" at the conclusion of The Day Shall Come. I felt the message of that film was too diluted by all the satirical wackiness right up until the ending, in fact.

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