Our features on the music of Wes Anderson – and the music that doesn’t appear on the soundtrack CD – continues with 1998’s “Rushmore” (Yesterday we looked at “Bottle Rocket“).
Rushmore
Liner Notes: As you’ve likely read a trillion times by now Wes Anderson originally wanted to score Rushmore entirely to songs by the Kinks, but instead scored the film to a variety of British Invasion tunes including Unit 4+2, Chad & Jeremy, Creation, the Faces, plus early Rolling Stones and the Who. “I thought this made sense because the Kinks played loud, angry teenage rock and they wore blazers and ties; and our movie is about a teenager who is loud and angry and is almost never seen without a blazer and tie” Anderson wrote in the soundtrack CD liner notes.
Owen Wilson (the co-writer) and Anderson made mixtapes called “School Movie Music” which they wrote to and also played on set during the scenes they would be used in. Lots of these wonderful songs and their unique and almost magical use, have cemented Anderson’s position as the master of the musical montage (think Creation’s “Making Time” to Max Fischer’s (Jason Schwartman) extra-curricular activities showcase; Unit 4+2’s bouncy “Concrete & Clay” accompanying the petition to make Latin a required course for grades seven through twelve; Chad & Jeremy’s wistful “A Summer Song,”to Max’s aquarium research and Lennon’s celebratory “Oh Yoko” as the theme to Fisherand Mr. Blume (Bill Murray) reconciling their differences and exercising in hopes of winning back Ms. Cross (Olivia Williams).
“When one man, for whatever reason, has the opportunity to lead an extraordinary life, he has no right to keep it to himself.” ~Jacques-Yves Cousteau (foreshadowing his love for the oceanographer in ‘Life Aquatic,’ Anderson has this Cousteau quote scribbled in his book, “Diving for Sunken Treasure,” which first leads Max to Ms. Cross in “Rushmore”)
“I’ll Take Punctuality” – The Meticulous Planning:
Before filming even began Wes Anderson had the entire soundtrack mapped out. According to Jason Schwartzman’s DVD commentary track, he handed the actor a tape with every song that would be used in the film. “He had every scene that [the song] was used for. It just put it together in such a clear way for me, I just really relate to the music and it really hit me, and i just knew how I was gonna [play] it.” For the Who song, “A Quick One While He’s Away,” the scene where Blume and Max enact their revenge on one another was designed around the song. “We actually figured out the way we would edit the song before we shot the scene so we could time it out,” Anderson said.
Sic Tranist Gloria – Extra Credit: The versions of The Who‘s “A Quick One” in Rushmore: the version used in the film is the live version from The Rolling Stones‘ Rock and Roll Circus TV show/soundtrack, whereas the version licensed to London Records for the Rushmore CD is from The Who‘s Live At Leeds album.
Extra Extra I Saved Latin Credit: Owen Wilson co-wrote the film, but doesn’t appear in it, right? Wrong. Wilson is credited as Ms. Cross’ deceased husband Edward Appleby and in the scene where Max is faking a headwound in her bedroom, you can see Wilson as Appleby in a black and white photo standing on a horse (the hard to see photos around the room are shots of Wilson in his youth).
“What Do You Call Getting A Handjob In The Back of A Jaguar? – Miscellaneous: Soundtrack supervisor Randy Poster played the Faces’ “Ooh Lah Lah” to Anderson over the phone and Wes immediately knew that the song would end the film. It had the “the right sadnes, the right wistfulness,” Anderson said. Wes Anderson and Mark Mothersbaugh looked to Vivaldi compositions to inspire the uptempo and spritely score they were attempting to create. By the way, there are eight explicit references to “handjobs” in the film. Well done Wes and Owen.
“Best Play Ever, Man” – The Missing Music: There’s many a great, blink and you’ll miss them song in the film that weren’t included on the soundtrack. Paul Desmond’s “Take Ten” (a nod to Dave Brubeck’s similar-sounding “Take Five”) plays when Max first visits his barbershop dad (Seymour Cassell) and has him sign his failed geometry test; Django Reinhardt’s “Manoir de Mes Reves” is heard during the wrap-party for the Max Fisher players Vietnam-spectacle “Heaven and Hell,” and Donovan’s “Jersey Thursday” is the song heard after Max discovers Blume and Ms. Cross’ 2 a.m. affairs and then in frustrated anger lashes out and burns leaves outside Dr. Guggenheim’s office. All these tracks were absent on the CD and only briefly used in the film. The Rolling Stones’ “I Am Waiting” is played after Mr. Blume tells Max that Ms. Cross is “his Rushmore,” and thus begins Max’s autumnal brown and depressing dark period when he drops out of school and gives up hope (this track was also absent on the CD).
Watch: Original Rushmore Trailer
Paul Desmond – “Take Ten”
Donovan – “Jersey Thursday” The Rolling Stones – “I Am Waiting” (Abcko are a little scary, sorry)
Django Reinhardt – “Manoir de Mes Reves”
The Who – “A Quick One While He’s Away” (Rock and Roll Circus version)