Electric bolts shoot from the singer's mouth, O'Malley provides a chord progression and a teenage girl watching the rehearsal falls in love.
As for the sound, the reader is informed it's "kind of crappy," but the rest is left to one's imagination. Such could have been the fate of Edgar Wright's big-screen adaption of O'Malley's tale of twentysomething hopeless romantics. After all, bringing rock 'n' roll to the big screen is not the easiest of feats, and with video game quirks and elaborate action sequences, it'd be easy to see how one could conclude that it would be best for "Scott Pilgrim vs.
As star of the film Michael Cera put it to our sister blog Hero Complex, "Whenever you see a band in a movie, the music is barely passable. It's like when you see a film, and someone is writing a book. Whenever you hear excerpts of the writing, it's just terrible.
You're like, 'That's what they're writing? Godrich made overtures to Atlanta punks the Black Lips, put ultimately persuaded close friend Beck to lay down sketches of a couple dozen garage rock songs. Then it will be as good as it will ever be. But once a few inquiries were made, and it was clear that we could maybe get those people to contribute, it was an exciting prospect.
Some of the bands in the film are referenced in the comics or were suggested by O'Malley, and others were selections from Wright. Track-by-track analysis is after the jump. They were knocked out over a span of three or four days in At just under two minutes, Wright used the full length of this fuzzed-up, sloppy rocker in the film, in which the only truly audible lyric is the word "yeah" repeated.
It plays over an extended credit sequence of colorful, old-school video game effects, with text displayed in the kind of choppy handwriting that one finds on the folders of high school students. That was the device that Edgar decided to use to start the film. Beck went away and wrote a little verse just so the character has something to sing when you see him.
The song was extended late in the day. I wrote some things that to me were almost like a song for the Archies. The now-forgotten band -- Godrich confessed he had never heard of them -- split around the turn of the century, but O'Malley has long championed the group as one of his favorites. There's a bit of alt-rock crust to the guitars, and a naive excitement to the vocals.
No lyrics are heard in the film, as "Scott Pilgrim" is dropped early, immediately following the opening sequence. Moment's later, Plumtree's slightly more vocally aggressive "Go" gets a little more screen time.
Yet it also works as a song about a girl. The extended notes feel like a daydream, and Wright uses the song to frame one of Scott's first extended glimpses at Ramona. That was a long time ago. Yet it was also meant to recall the soundtracks of '80s films, when directors didn't shy away from utilizing songs that reference a character or a title.
When this song was shown in the previews, it was the loudest song. Bob Dylan's "To Ramona. Yet it appealed to Wright for less sentimental reasons. Fans of the director's catalog may remember that a Sade album had a cameo in horror-comedy "Shaun of the Dead. It's heard when the characters enter a divey rock club. Godrich was happy it made the cut. The meeting, said Godrich, was a disaster. We hung out with them a bit.
But we wanted to see if they would be up to do some recordings as Sex Bob-Omb. I could feel it at the time. Basically, if I were them, I would have told us off, so I told Edgar we were going to need to find something else. You have no idea what the movie will be like. Sex Bob-Omb takes the act on in a battle of the bands, and Crash and the Boys are used for more comedic effect. Fast, angry and with a too-cool-for-you look, Crash and the Boys offered the opportunity for famed Canadian indie pop act Broken Social Scene to channel its inner metal spirit.
The mix is blown out, and listening to it at home, it sounds as if one's speakers are about to burst. The lyrics are so, so good. When Mark signs it, you can hear the lyrics better. Nigel and I thought the lyrics were great. The energy between Mark and Beck is totally different. We should hear it. No one is going to be impatient. Everyone is going to happy to sit through it. The song just gets better. I thought this was a throwaway song, to be honest.
I was surprised they picked it. Wright uses it for the latter in "Scott Pilgrim vs. It made me think of Knives. It spoke to me as how we feel when we are 17 and have been dumped.
You need a song that sounds like the end of the world. A band birthed in the alt-rock era, the Bluetones favored nuance and tempo over many of the Brit-pop bands of the mid-'90s.
Appearing in the film after Scott and Ramona have started dating, its downbeat groove and depressed lyrics hint that not all will be so sweet.
As for Blood Red Shoes, the duo is a largely unknown rock outfit from the U. That was part of the early creative process. He had five CDs of songs that we were talking about. Haines was flattered to hear the character was based on her, but contends that Envy is far more tough than she's capable of being, although she didn't use the word "tough" and instead opted for a phrase a family newspaper couldn't print.
Originally intended for "Fantasies," Haines said the band felt it too obviously reflected the band's sound.
But we are also looking at it. The song now has an extended intro, with Larson on vocals offering a few 'oh yeah's," used in the film to taunt Scott and Ramona in the audience. It's been a soundtrack summer for Metric, who also recorded the lead track for "The Twilight Saga: I should hope that after four albums and 10 years we would have more opportunities to get our music to people other than club shows.
I look at my life. I look at what is possible as a musician. The sound guy would always get really upset. But almost every song is a first take, and completely unrehearsed. I was proud that some of the bad notes were left in there.
I think things tend to get scrubbed for Hollywood films, but this was relatively less-polished. Although it carries a nostalgic tone, the song gradually becomes a full-on singalong. Wright used it near the end of the film, when the characters emerge from a futuristic-styled club and things are looking bleak for Scott's love life.
Everyone knows what it is. It invokes the right atmosphere. It reminds you of where you are. The younger viewpoint, I suppose, is about trying to value who people are naturally, and just how difficult it is to be who you are. But how did Wright secure the rights to the Stones? Godrich and Nicolas Godin from Air also performed on the cover.
It was a win-win situation. Acoustic, the only lyrics are her name, an even more stripped down version of a joke used in the sitcom "Cheers" with "The Kelly Song. That was the one they picked, and that one was actually one of the more interesting chord progressions. The other ones were even more simple.
The string version has full verses. That came a couple days before we mastered the album. I felt like it then needed to be a little more substantial, so I wrote a couple quick verses.
It comes at the 41 second mark. It's used in the end credits. When Beck saw the final cut of the film, he said he was surprised this song was used mainly for the credits. Ultimately, what works best for the picture is what wins out. Though it's used primarily in the credits, that doesn't mean Wright wasn't partial to it. On the contrary, as the director shot a whole sequence with just this song. And there's likely more where it came from, depending on how the film and soundtrack are received by the public.