Marie Antoinette: Innovative Music

Cannes Film Fest 2006–When she was writing the script for MARIE ANTOINETTE, Coppola turned to music supervisor Brian Reitzell (with whom she had worked on her two previous films) to discuss music in the tone she was thinking of while writing. Reitzell mixed Versailles CDs that included such artists as Bow Wow Wow, New Order, Adam Ant, and other post-punk romantic music, says Reitzell. It gave us a place to jump off from.

In preparation for the film, Reitzell also immersed himself in opera. We decided early on that our approach would be a collage of different kinds of music, says Reitzell. The soundtrack is a double disc, a post-punk-pre-new-romantic-rock- opera odyssey with some 18th century music and some very new contemporary music.

The eclectic blend of sounds, Reitzell maintains, makes it a lot easier to put yourself in the movie. The music resonates because it shows how these people really were. For most of the movie, Marie Antoinette is an adolescent and it would have been a lot harder to get across her teen angst with a Masterpiece Theater type of soundtrack.

There was nothing happenstance or frivolous about the musical selections Reitzell and Coppola settled on for the film, he adds. The thing about the music in this film is that there were no rules and no other movies we used as a role model, says Reitzell. We didnt do anything for the sake of putting a song in. We always did what felt right to us.

It was all very organic, he continues. The story dictated the music, which follows the dramatic arc. We set it all up in the opening credits with the Gang of Four song Naturals Not in It which prepares you musically and lyrically for whats going to happen. Later, there is an Aphex Twin piece, “Jynweythek Ylow, which is played when Marie Antoinette first enters Versailles, which actually sounds like that place. What I love about it is that you cant tell if its a harpsichord or string instrument thats playing.

The score was broken down into three parts to complement the films dramatic progression. It starts with an innocent period, says Reitzell. The middle section is the more decadent period with the energy of more modern music. The end is the decline, and there are only one ortwo music cues.

The Music Used in the Film:

“Natural's Not In It”
Written by Dave Allen, Hugo Burnham, Andy Gill & Jon King
Performed by Gang of Four
Courtesy of Warner Music Group & EMI Records

“Opus 17″
Written & Performed by Dustin O'Halloran

“The Melody Of A Fallen Tree”
Written by Jason McNeely and Dan Matz
Performed by Windsor for the Derby
Courtesy of Secretly Canadian & Zync Music Inc.

“I Don't Like it Like This”
Written by Johan Duncanson
Performed by The Radio Dept.
Courtesy of Labrador Records

“Jynweythek Ylow”
Written by Richard D. James
Performed by Aphex Twin
Courtesy of Warner Music Group, Warp Records & Sire Records

“1st Menuet Pour Les Guirries et les Amazones, 2nd Menuet”
Written by Jean-Philippe Rameau
Conducted by William Christie
Performed by Les Arts Florissants
Courtesy of Harmonia Mundi France (P) 1991

“Pulling Our Weight”
Written by Johan Duncanson & Martin Larsson
Performed by The Radio Dept.
Courtesy of Labrador Records

“Il Secondo Giorno Instrumental”
Written by Jean-Benot Dunckel & Nicolas Godin
Performed by Air
Courtesy of Aircheology

“Keen On Boys”
Written by Johan Duncanson & Martin Larsson
Performed by The Radio Dept.
Courtesy of Labrador Records & XL Recordings Ltd.
“Aux languets d'Apollon”
(from the opera-ballet “Plate”)
Written by Jean-Philippe Rameau
Performed by Carolyn Sampson & Ex Cathedra
Conducted by Jeffrey Skidmore
Courtesy of Hyperion Records, Ltd.

“Opus 23″
Written & Performed by Dustin O'Halloran

“I Want Candy (Kevin Shields Remix)”
Written by Bob Feldman, Jerry Goldstein, Richard Gottehrer & Bert Berns
Performed by Bow Wow Wow & Kevin Shields
Courtesy of RCA Records & Sony BMG Music Entertainment

“Hong Kong Garden”
Written by Susan Ballion, Steven John Bailey, John Gareth McKay & Kenneth Morris
Performed by Siouxsie and the Banshees
Courtesy of Polydor Ltd. (UK) & Universal Music Enterprises

“Aphrodisiac”
Written by Matthew Ashman, Dave Barbarossa, Leigh Gorman, Annabella Lwin & Malcolm McLaren
Performed by Bow Wow Wow
Courtesy of RCA Records & Sony BMG Music Entertainment

“Fools Rush In (Kevin Shields Remix)”
Written by Johnny Mercer & Rube Bloom
Performed by Bow Wow Wow & Kevin Shields
Courtesy of EMI Records, Film & Television

“Plainsong”
Written by Robert Smith, Simon Gallup, Boris Williams, Roger O'Donnell & Laurence Tolhurst
Performed by The Cure
Courtesy of Fiction Records Limited, Polydor Ltd. UK, Universal Music Enterprises, Elektra Entertainment Group & Warner Music Group Film & TV Licensing

“Ceremony”
Written by Ian Curtis, Peter Hook, Peter Hook & Stephen Morris
Performed by New Order
Courtesy of Warner Music Group & London-Sire Records Ltd.

“Tommib Help Buss”
Written by Tom Jenkinson
Performed by Squarepusher
Courtesy of Warp Records

“Ou Boivent Les Loups”
Written & Performed by Phoenix

“Kings of the Wild Frontier”
Written by Marco Pirroni & Adam Ant
Performed by Adam Ant & The Ants
Courtesy of Epic Records & Sony BMG Music Entertainment (UK), LTD.

“Avril 14th”
Written by Richard D. James
Performed by Aphex Twin
Courtesy of Warner Music Group, Warp Records & Sire Records

“What Ever Happened”
Written by Julian Casablancas
Performed by The Strokes
Courtesy of RCA Records & Sony BMG Music Entertainment

“Tristes apprts, ples flambeaux”
(from the Tragdie lyrique “Castor & Pollux”)
Written by Jean-Philippe Rameau
Performed by Agns Mellon and Les Arts Florissants
Conducted by William Christie
Courtesy of Harmonia Mundi S.A. (P) 1993

“Opus 36″
Written & Performed by Dustin O'Halloran

“All Cats are Grey”
Written by Robert Smith, Simon Gallup & Laurence Tolhurst
Performed by The Cure
Courtesy of Fiction Records Limited, Polydor Ltd. UK, Universal Music Enterprises, Elektra Entertainment Group & Warner Music Group Film & TV Licensing

“Les barricades mystrieuses”
Written by Franois Couperin

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