Editor’s Note: We were all set to start this post with a sheepish, self-deprecating dig at ourselves for all the shit we’ve given Marc Webb on this movie, “500 Days of Summer” but he totally beat us to it and with much more sage and cutting grace than we could ever muster. We’ve been humbled. He’s a real sport and was even kind enough to agree to give us an exclusive track-by track break down of all the songs in the movie and how they got there. We were amazed when we saw what he wrote! We’d specifically asked him to address The Smiths since they’re not the most affordable band to license and hopefully you’ll glean some insight below, along with a deep inside look at the rest of the music from this film.
Our gracious thanks to him for this expository look into the music for “500 Days of Summer.”
TO THE PLAYLIST:
I was a little hesitant to answer your request given the tone of some of your editor’s posts. Then again I think skepticism can be a virtue – so here I am. Incidentally, I do think there are things more dangerous than “twee.” Cynicism for example. It’s fair to say we engage in pop culture to be enlightened, moved or to share some common experience. And when culture makers like musicians, filmmakers, artists, or bloggers become loyal to a form rather than a feeling –that is to say when they don’t actually believe what they’re creating – it becomes cynical. That can throw the experience off. Maybe that’s what your invectives are hinting at. The work stops being culture and starts being something else – propaganda maybe? I’m not sure. But it’s a worthy topic for discussion and I hope it continues in a manner that invites engagement.
In any case, here’s the line up for the soundtrack of “500 Days of Summer.” I can’t go too deep into explanations of how we got which songs partly because that wasn’t my department and partly because most of it has to remain private for obvious reasons. I worked closely with our music supervisor Andrea Von Foerster, the music exec at Searchlight, Amy Driscoll, and most importantly writer Scott Neustadter whose Smiths-love is unparalleled.
For what its worth, my first job in L.A. was doing music clearances for Doug Pray’s Seattle-music doc “Hype!” I learned a few things that helped us with the licensing for a movie with as small a music budget as ‘500.’ Most important: never underestimate the power of a personal appeal in the form of a well-written letter. I know there’s been some interest in The Smiths tracks and all I can really say is you have to prioritize your resources and get creative.
Regina Spektor “Us”
Regina. If [French composer Erik] Satie wrote pop songs they would sound something like Regina Spektor. We first worked together on her video for “Fidelity” and subsequently on “Better.” I love Regina – she doesn’t listen to A&R guys or critics or managers (and sometimes directors) – she just creates. And if you can get on her wavelength it’s just plain fun to go along for the ride.
When I first made my case to the producers of “500 Days of Summer” I pitched a split screen opening credit sequence supported by Regina’s “Us” off of Soviet Kitsch. It features the two protagonists growing up separately but somehow connected. Lives emerging in parallel. The piano part even inspired some elements of the score – not to mention establishing the playful pop sensibility of our movie. The lyrics do some heavy lifting here as well.
The Smiths “There Is A Light That Never Goes Out”
It’s an extremely brief but important use. Story point. Originally we were just cleared for the publishing – just so [Zooey Deschanel’s character] Summer could sing a line from the song. We ended up playing the song louder on [Joseph Gordon-Levitt’s character] Tom’s headphones so the audience could here what she’s singing along to – which, of course, required a master use license.
Belle and Sebastian “The Boy With The Arab Strap”
We never hear this song but a high school Summer quotes it. Do you know what an Arab Strap is?
Black Lips “Bad Kids”
Either Andrea or Dorian Cheah one of our music editors brought this in. Dug it.
The Smiths “Please, Please, Please, Let Me Get What I Want.”
Let the lyrics do the talking. This song always reminds me of late afternoon. Tom uses this as a mating call. Unsubstantiated Trivia: Dream Academy* does an instrumental cover of this for the museum sequence in “Ferris Bueller’s Day Off.” Maybe this is common knowledge – but I think it’s cool. [*ed. one of our total all-time faves]
Patrick Swayze “She’s Like The Wind.”
It’s a surprise and no it’s not a musical number.
Jack Penate “Have I Been a Fool? “
I ask myself this question all the time. Andrea brought this in. It’s playing on Tom’s stereo when his friend comes over. Great song.
The Doves “There Goes the Fear”
For some reason lyrics can illustrate the subtext of a scene explicitly in a way dialogue never can.
Hall & Oates “You Make My Dreams”
Probably overused in movies – which is exactly why Scott and Michael scripted this one in. If you see the movie this will make more sense. H&O easily one of the great pop song writers of all time.
Knight Rider Theme
Originally scripted as the A-Team. They said no and then put the feelers out to see if I was interested in directing the film! Shameless! AVF came up with KR or Magnum P.I. I chose Kit.
Temper Trap “Sweet Disposition”
Originally wanted to reprise The Smith’s “Please, Please, Please…” but couldn’t afford multiple uses. Amy Driscoll from Searchlight brought this in one day. What can I say? It fit.
Carla Bruni “Quelqu’un M’a Dit”
First of all, the greatest love song ever written is Silvio Rodriguez’s “Ojala.” Objectively. It can’t be denied. I tried to conceive of this scene around that song – but Silvio’s magic was too powerful. The song would have overwhelmed this relatively small exchange between Tom and Summer. [ed. Rodriguez does rule]
All the same, I wanted something simple, mellow with a hint of melancholy and most importantly in a foreign language – this because there’s a communication barrier between Tom and Summer.
Three or four years ago, long before CB was the first lady of France, my friend and producer Hagai Shaham had played me this song in an airport as we were going to do some video shoot overseas. He said it put him in a good mood in the morning. You probably don’t know Hagai – but trust me this is very important. For this I am forever indebted to Carla Bruni.
What I’ve always loved most about this song more than anything is its origin story. It goes like this: Carla Bruni and Leos Carax were lovers. After Bruni left the forlorn romantic filmmaker, Carax heard a rumor at a party that his former lover still held a flame for him. He went home at once and wrote her a letter that began with “Quelqu’un m’a dit,” (i.e. somebody told me.) Somebody told me there might be some small possibility that you still love me – some sliver of a hope. While the epistle didn’t move Ms. Bruni enough to return to LC – it compelled her to put a melody to the words and “Quelqu’un M’a Dit” was born. Leos Carax is still credited with the lyrics. I don’t know how your readers feel about Lovers on the Bridge or Boy Meets Girl but any chance I have to funnel Carax some royalties – count me in. Dude has been on hiatus for a long time and it’s not like “Tokyo!” is going to put a whole lot of pate on the table [ed. Marc, watch for Carax’s “Merde,” his segment, it’s awesome!]
As for its use – it’s playing in the background during Tom and Summer’s convo. We pushed the music mix and sucked the ambiance out on the upswing into that bittersweet hook just as Tom and Summer’s car drives into the darkness of a tunnel. The melody and image combine to deliver just a faint hint of foreboding to a scene that otherwise would have simply played sweet. We ran the song to them through earwigs so she could hum along without it interfering with their dialogue recording. It was all a big pain in the ass but I think this moment sings – I dig it. Call me twee but that’s how I feel.
Black Lips “Veni, Vidi, Vici” Another AVF suggestion. Next time you go to a Black Lips show – you can tell them they are twee and see what happens. [Ed.: We’ve seen their movie from Mexico. They’d probably pee on us or defeather a chicken regardless, we don’t wanna know the rest!]
Paper Route “The Music”
Again, Andrea Von Forester brought this one in. Mychael Danna jokes that people are going to think this instrumental is score –and they’ll all falsely compliment him for it. BTW, Mychael Danna and Rob Simonsen make my heart beat faster. They are the best kind of perfectionists you could ask for. Insanely talented and super cool guys. If you’re a fan of film scores go back and check out Mychael’s work on “The Ice Storm” or “Girl, Interrupted” – it’s marvelous and we were lucky to have him. The descending cellos match Tom’s descent perfectly. Jen Monnar, Mychael’s music editor matched the pizzicato work to the exterior rain so perfectly it feels like score. This also plays under cinematographer Eric Steelberg and my favorite shot from the movie.
Feist “Mushaboom”
First exposed to Feist by way of Patrick Daughters’ video for this song. His clip is downright cool. Check it out. This plays as background during a wedding sequence. Notice the lyrics are about domestic bliss, which plays into Tom’s hopeful state of mind at this moment. Obviously I don’t buy into the notion that once an artist has been in an Apple ad –they are somehow off-limits (see Wolfmother below). I could care less. If the song itself is overexposed – that’s another story. But even then it can be used to great effect (see Patrick Swayze’s “She’s Like the Wind.”)
Regina Spektor “Hero”
This split-screen sequence was the most difficult to plan from a technical standpoint. While I was boarding this out in pre-pro, I had Alan (my editor) cut the animatic to this song. It felt right and we never changed it. While we massaged the music edit slightly in post, it’s a testament to the technical abilities of Joe and Zooey that they could adhere to the strict timing of this sequence and have it come off as naturally as it does. Once again, I’m a sucker for narrating through lyrics and it almost feels like Regina wrote this song FOR the film.
Spoon “Infinite Pet”
Dorian, music editor, put this in and we ended up adjusting picture to sound once again (this happened a lot). I’m often shocked at the notion of cutting sound TO picture. Particularly source cues. Coming from vids – I’m used to the opposite. I think there are moments where you have to let the music drive the image. Wong Kar Wai does this better than anyone.
Simon & Garfunkel “Bookends”
Lyrically, metaphorically, narratively perfect. Surprisingly overlooked S+G song. When you see the movie you’ll know why we couldn’t use any other artist during this moment. Again, wise resource allotment is important. That and we screened the film for Mr. Simon’s manager. I guess he dug it. Thank God. Anything else here would have been painfully wrong.
Wolfmother “Vagabond”
I’ve always liked these guys – they remind me of the best parts of my early 14 year-old Zeppelin phase. This is a good example of why you should select your music before you shoot. There’s a simple tennis ball-thump gag that we never could have achieved had we not played Vagabond on set. Alan, my editor, was out having a baby this week and so Jen Vechariello, the AE, and I cut this one together. I used to cut my old vids so and this was a lot of fun and I thought Jen did a great job here, too.
Mumm-Rah “She’s Got You High”
My friend and sometime co-director Rich Lee did the incredible video for SGYH. Check it out. The end credits were really tough. I originally had the Guillemots “Made Up Love Song” in here but making the proper sound edits never really worked. Also tried Regina’s “On The Radio” which had superb lyrical support and captured a lot of the themes we were dealing with – but ultimately I wanted a male voice. This is, after all, a story about a guy. Told strictly from the male point of view. Plus Scott Neustadter is gay for this song.
Getting this last moment right was a real challenge. Eventually I had to get Rob and Mychael to compose a little grace-note intro for the top of the song to accentuate the last beat of the movie. Once again, this will make more sense if you’ve seen the film.
Karaoke Selections:
Poison “Every Rose Has Its Thorn”
Some drunk guy is always doing this when you karaoke.
Nancy Sinatra/Lee Hazlewood as performed by Zooey Deschanel “Sugar Town”
I made this selection with the consultation of Ms. Deschanel. I don’t believe in violence but anyone who doesn’t like Lee Hazlewood should be punched in the face. [ed. ha, we endorse this sentiment!]
The Pixies “Here Comes Your Man”
Chose this with Joe – he’s a huge Pixies fan. And he can sing, bitch. We may have someone cover this as a bonus for the official soundtrack.
– Marc Webb [ed. who now officially rules, our tail between legs] “500 Days of Summer” hits theaters July 24 via Fox Searchlight.