Tag Archives: Vanilla Sky

A Playlist Shortlist

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Cameron shares some of his favorite songs from his own films for the March issue of Shortlist magazine. Without further adieu…

Film: Fast Times At Ridgemont High

Track: “We Got The Beat” by The Go-Go’s

“It says many things about life, love, hormones and the power of a mighty groove.”

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Film: Say Anything…

Track: “Chloe Dancer/Crown of Thorns” by Mother Love Bone

“I also used it again in Singles. It’s like a recurring character.”

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Film: Singles

Track: “Drown” by Smashing Pumpkins

“Corgan’s reaction was, ‘Sh*t! That’s the one I wanted to keep for myself.’”

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Film: Jerry Maguire

Track: “The Horses” by Rickie Lee Jones

“This gets me feeling the emotion on Renée’s face.”

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Film: Vanilla Sky

Track: “Freur” by Doot Doot

“This had lived in so many of my mixes, it deserved to reach the big screen.”

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Film: Vanilla Sky

Track: “Nothing Song (aka njósnavélin) by Sigur Rós

“Found on a bootleg.”

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Film: Almost Famous

Track: “Cabin In The Air” by Nancy Wilson

“Never on an album, but I’m always asked for an MP3.”

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Film: Elizabethtown

Track: “Come Pick Me Up” by Ryan Adams

“One of the best songs from the past 30 years.”

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Film: We Bought A Zoo

Track: “Go Do” (Remix) by jónsi

“jónsi is the Brian Wilson of his era, and this is proof.”

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Film: Vanilla Sky

Track: “Rez” by Underworld

“Every mix needs a song that says ‘keep driving’.”

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Filed under News
Mar 25, 2012

Inquire Within: Vanilla Sky Blu-ray?

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Welcome to another edition of Inquire Within… Through your submissions, Cameron will answer your questions in his own words.

Tony S.: Just wondering if there are any plans for a Blu-ray edition of Vanilla Sky?

Cameron: Thanks for the question, Tony.  The fact is that we’ve been hearing more and more about Vanilla Sky lately.  On our recent travels for We Bought A Zoo, there were a lot of questions about the movie, and a lot of passionate fans who wanted to discuss it.  It’s fueled our desire here at Vinyl Films to start planning the Blu-ray, with a new commentary track, the original ending included, and a lot more Kurt Russell, Michael Shannon, and Tilda Swinton among other elements.   I think ultimately it will come down to  Paramount hearing from the fans, so feel free to write ’em and tell ’em you’re  interested.  It feels like the time has come back around for the movie, which was certainly polarizing in the day, coming as it did right after 9/11…  but has now settled into its own psychedelic groove.  Certainly would be a joy for all of us to dive back in and pull out some of the rarities that were such a big part of the early cuts of “V Sky.”   Tech support!!

CC, TC and PC

Please send in your questions for Cameron and maybe yours will be part of a future installment of Inquire Within…
Filed under News
Mar 5, 2012

Meet The Crew: Ana Maria Quintana – Script Supervisor Part 2

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With Spielberg on the set of Munich in France

We conclude our two part interview with We Bought A Zoo Script Supervisor Ana Maria Quintana. In case you missed it, check out Part 1 here.

I bet continuity must have been a nightmare on Almost Famous, right?

It was a bit hard but I was prepared for it. As long as I had my breakdown down in my head and my notes ready, I was okay. I had to make sure I was ready to go everyday with the right information. I made sure to read the scenes the night before, went over all the notes from before and after and in between so that I was prepared. The rest of the crew was in the same wavelength so we were all out there being part of this wonderful movie with Cameron.

What was your biggest challenge working on Vanilla Sky?

Ah, now that is another story. That one was hard. Only because I was always wondering on the set, at home, working on the notes in my sleep: “Which one is it??? Is this the dream or is this reality?” “No, this is real.” “No, this is not.” It really was a film that was always working on you from inside, very deep, at least I thought so. But again, what a joy to work with Cameron and his love of words and music. And to work with Tom Cruise again. Those two are wonderful together – their friendship and wanting to make something good was intoxicating.

The challenge for me was to make sure that I was getting Cameron’s notes correctly, and that I could help in any way. Otherwise, it was a different experience marked with hard work, intensity, joy, and lots of music.

Zoo D.P. Rodrigo Prieto with Ana Maria

Was working on We Bought A Zoo as much fun as it looked?

You know, people always think that working on a film is fun, so I have to correct them by saying we are working. It is our job. It is hard work. We have to get up very early and sometimes have to work very late, even through the night. What makes a film fun for me is the project and usually when I think about it after the shooting, but not during. During the shooting I am so consumed with making sure things are right that I don’t really think about fun.

Having said that, what makes working on Cameron’s films great is that he makes you feel that you are a part of the whole project and not just doing a job. He respects and acknowledges everyone’s job on a film set. Cameron’s sets are very different,. You are all part of the process and he is incredibly accessible to everyone at all times. His care for the final product is so personal that you can’t help but be seduced. Everyday that I have worked on one of his films I have enjoyed. Hard or not, I have never once been unhappy about getting up to go to work on his set.

After four films together, tell us about your working relationship with Cameron.

I feel so proud to be able to say I have done four films with him. I am incredibly grateful for having had the opportunity to sit by his side. Warren Beatty and John Schlesinger always made me feel very proud of my job and always went out of their way to include me during the filming of their projects. Cameron has been the same for me – so giving, so open, so respectful of my craft. I admire him tremendously. He makes my job just that much more enjoyable.

Tell us something that a Script Supervisor does that people might not be aware of

We observe, we take notes, we report, we are always on, we seldom leave a set,. We sometimes play psychiatrist, mom, sister, confidante, or girlfriend. And we are the only one in our department.

Do you think that directing a feature film is still in your future?

Who knows? They say it’s never too late to start something new…who knows…it is a New Year after all, but I better hurry since the world is coming to an end…!

Special thanks to Ana Maria Quintana for her generosity and time with this interview!

Filed under News
Jan 18, 2012

Meet The Crew: Ana Maria Quintana – Script Supervisor

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Cameron and Ana Maria on the set of Zoo

We are pleased to introduce you to Ana Maria Quintana, Script Supervisor on Cameron’s last four films (Almost Famous, Vanilla Sky, Elizabethtown and We Bought A Zoo). She was born and raised in Chile before moving to New York when she was fourteen years old. The family eventually headed west and Ana Maria studied film at L.A. City College. She has worked on more than 50 movies in a career that now spans more than four decades. We chat with Ana Maria in two parts about her duties as Script Supervisor, some of the many directors and films she has worked on and much more.

Tell us what a Script Supervisorʼs main duties are.

First of all and most importantly: to have total knowledge of the script. You are responsible for breaking it down in every department. Props, wardrobe, make-up, hair, set dressing, time of day, time of the year.

We time a script so that we know how long the script is and how long each scene is. This will be helpful throughout the shooting. We keep a tally to compare so that the Director and the Editor can use this to make sure that they are not running too long. If a film is meant to be 2 hours you don’t want to shoot a 4-hour film.

Once we start production, we are involved in all the rehearsals, set-ups and shooting of the film. We keep detailed notes on the shooting day, scene numbers, take numbers, camera information, lenses and filters. We describe each scene and make notes on each take.

All of our notes are given to the Editor to use for his or her assembly, and the Director will later refer to them during his or her cut. The notes will tell them the good takes from the bad, the incomplete from the complete, what each take had that was particularly good or bad, and any other notes that might help distinguish the shooting scene during the editing process.

During filming, we are responsible for all continuity of the scenes being shot. Since most films are shot out of order, it is up to the Script Supervisor to preserve the continuity at all times, in every department and for every aspect of the film. Everything from make-up, props, wardrobe, hair, time of day, and pace from one scene to another, etc. is under the scrutiny of the Script Supervisor. We must have a full understanding of all camera angles, direction, and progression. This is to make sure that camera angles and the action cuts together. We must also make sure that nothing is left out from the script, that all the shots the Director wanted and needed are completed. We cue actors during rehearsals and make all changes on the script. During the shooting, we make sure that the actors match their actions with their words, cigarettes, cups, etc. Any movement with their hands or body must match in all the angles at all times. We also prepare a production report for the Producers that shows the scenes shot, the scenes that need to be shot, the screen time shot everyday, page count and set-up count. Above all, we must always be present for the Director to make sure the script is available to them, and to make any notes that he or she might give you at a moment’s notice.

Be present, be alert, be focused, and be prepared. That is my motto.

On The Set of Blade Runner with Ridley Scott, Rutger Hauer & William Sanderson

You have a long, distinguished career working with such Directors as Ridley Scott (Blade Runner), Steven Spielberg (Jurassic Park, Minority ReportThe Adventures of Tin Tin) and James Cameron (Avatar). Tell me something you took away from working with these particular Directors.

Wow! First of all, I walk into work and walk away saying to myself: WOW WOW WOW!!!! To this day, I still cannot believe that I am standing on the set with these or any other Director. It is a privilege and an honor to have worked with all of the Directors I have during my career.

From Ridley, I learned so much from the very beginning, especially the care and incredible knowledge of design, pace, and creativity that he took to make that film. I did not know we were making Blade Runner, I just knew I was working on a film that was just beautiful to watch everyday. I was surprised and in total awe at the images that were being created… it was wonderful.

Then of course came Steven Spielberg. I started with him on Hook. I had just had my son, so going back to work was different this time around. I needed to work more than ever and I was hired. I couldn’t believe it. I never thought in a million years that I would work on a big production like that one. There I was, on the biggest set in MGM, back when it was stilled called MGM. It was the care that Steven took with every scene that was so marvelous to watch and be a part of. It was very hard work, a lot of detail and Steven had the whole film in his head. I had to somehow get in there. Thank goodness I got to do more films with him and after 18 years, I am just finally beginning to understand about 10%…can you believe that?

Steven is a very intense filmmaker; he works very fast and does not repeat himself. You must be prepared, prepared, prepared at all times for anything and everything, that is how he works. Because of his love and immense professionalism in his films, I have felt at all times that I must try and strive to keep up. I have learned so much about editing and staging of scenes from Steven. Just when I think I’ve got a handle on it, he surprises all of us. A friend of mine long ago said something about John Huston. He said that if you cut Huston’s veins, they would bleed celluloid. I think that of Steven Spielberg.

I did not do the whole film Avatar; I was only hired to do a couple of weeks of the live action part in Los Angeles. I accepted gladly since I wanted to see what this was all about. I was given a great surprise and a wonderful experience. James Cameron is just amazing –  his knowledge, his care for every little part of the frame, his passion. It was great to be able to sit and watch him work. I loved it, especially in this new world of motion capture and 3D. It is a whole new way of making films. It was good for me to come out and learn and to adapt my work to the new wave of filmmaking.

I hope and think that overall, what I have taken from these Directors and all the others that I have worked with is an amazing love, care, passion, professionalism, and love for making films.

How did you meet Cameron and get involved with Almost Famous? Did this happen due to your existing relationship with Steven Spielberg?

Yes it did. The Producer for Almost Famous was Ian Bryce, who also produced Saving Private Ryan. When Cameron was looking for a Script Supervisor, Ian put my name on the list. I went to the interview not really knowing what would happen, but I do remember seeing him for the first time and I just liked him. Cameron is just a warm, sincere, charming and overall great person. We talked for a bit and if I remember correctly, I ended up telling him some very personal things. I think that I had the right rhythm for him. Of course, you know, with Cameron everything has to do with rhythm and images. When it’s right, it’s right. Otherwise it just does not work. I was surprised, since I am Latin and my energy is more like Charo, “cuchi-cuchi!” and all. Cameron is much more refined, but thank goodness it clicked.

Working on Almost Famous saved my life. I was in a rut in my personal life and being part of that film was just the best thing that happened to me. The story, the music, the cast, the crew, everything was full of life, laughter, joy, love and of course music… all brought together by Cameron. Loved every minute of it.

I bet continuity must have been a nightmare on Almost Famous, right?

It was a bit hard but I was prepared for it. As long as I had my breakdown down in my head and my notes ready, I was okay. I had to make sure I was ready to go everyday with the right information. I made sure to read the scenes the night before, went over all the notes from before and after and in between so that I was prepared. The rest of the crew was in the same wavelength so we were all out there being part of this wonderful movie with Cameron.

What was your biggest challenge working on Vanilla Sky?

Ah, now that is another story. That one was hard. Only because I was always wondering on the set, at home, working on the notes in my sleep: “Which one is it??? Is this the dream or is this reality?” “No, this is real.” “No, this is not.” It really was a film that was always working on you from inside, very deep, at least I thought so. But again, what a joy to work with Cameron and his love of words and music. And to work with Tom Cruise again. Those two are wonderful together – their friendship and wanting to make something good was intoxicating.

The challenge for me was to make sure that I was getting Cameron’s notes correctly, and that I could help in any way. Otherwise, it was a different experience marked with hard work, intensity, joy, and lots of music.

Zoo D.P. Rodrigo Prieto with Ana Maria

Was working on We Bought A Zoo as much fun as it looked?

You know, people always think that working on a film is fun, so I have to correct them by saying we are working. It is our job. It is hard work. We have to get up very early and sometimes have to work very late, even through the night. What makes a film fun for me is the project and usually when I think about it after the shooting, but not during. During the shooting I am so consumed with making sure things are right that I don’t really think about fun.

Having said that, what makes working on Cameron’s films great is that he makes you feel that you are a part of the whole project and not just doing a job. He respects and acknowledges everyone’s job on a film set. Cameron’s sets are very different,. You are all part of the process and he is incredibly accessible to everyone at all times. His care for the final product is so personal that you can’t help but be seduced. Everyday that I have worked on one of his films I have enjoyed. Hard or not, I have never once been unhappy about getting up to go to work on his set.

After four films together, tell us about your working relationship with Cameron.

I feel so proud to be able to say I have done four films with him. I am incredibly grateful for having had the opportunity to sit by his side. Warren Beatty and John Schlesinger always made me feel very proud of my job and always went out of their way to include me during the filming of their projects. Cameron has been the same for me – so giving, so open, so respectful of my craft. I admire him tremendously. He makes my job just that much more enjoyable.

Tell us something that a Script Supervisor does that people might not be aware of

We observe, we take notes, we report, we are always on, we seldom leave a set,. We sometimes play psychiatrist, mom, sister, confidante, or girlfriend. And we are the only one in our department.

Do you think that directing a feature film is still in your future?

Who knows? They say it’s never too late to start something new…who knows…it is a New Year after all, but I better hurry since the world is coming to an end…!

© 2011 – Vinyl Films/The Uncool. All rights reserved.
Filed under News
Jan 17, 2012

Inquire Within: Redemption

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Welcome to another edition of Inquire Within… Through your submissions, Cameron will answer your questions in his own words.

Doug Shiloh (Rockford, IL): Two of your major films Vanilla Sky and Jerry Maguire (which are favorites of mine, by the way) delve into redemption for people who were in the kingdom of greatness, one way or another. How do the new documentaries further your look into this territory (Leon Russell’s return seems to be part of this). What is it about the theme that grabs you?

Cameron: I think many of the great heroes in history, from Winston Churchill to Steve Jobs, were cast out of the kingdom of greatness.  Their life-defining work sometimes happens upon their rugged return to power.  That theme has always grabbed me.  It’s very easy to throw in the towel, but sometimes a simple refusal to give up leads to a whole new life.  This theme began for me with Brad Hamilton’s story in Fast Times at Ridgemont High.  The fast food king was able to return with a simple twist of fate… the unexpected help of the person he least expected. Spicoli.   When we first saw Fast Times on a big screen with a paying audience, it was that moment that caused people to applaud in the audience.  I never forgot that.

And it’s even a theme in Pearl Jam Twenty.  When many of their contemporaries were giving up, and giving up on the band itself, they kept going… and found the passionate audience that keeps them alive today.  Thanks for the question, Doug.

Please send in your questions for Cameron and maybe yours will be part of a future installment of Inquire Within…
Filed under News
Dec 22, 2011

Jerry Maguire Turns 15, Vanilla Sky is 10!

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Two of Cameron’s films hit milestones this week. Jerry Maguire hits the 15 year mark on December 13th and Vanilla Sky reaches 10 years the following day. Hard to believe, right? Jerry Maguire was Cameron’s first big box office success and garnered his first Oscar nomination for writing.

On the set of Jerry Maguire

Vanilla Sky was a more polarizing film as people either loved it or hated it. One thing is for sure, everyone had opinion about it. Looking back, I think it had a pretty remarkable box office run. It’s the 24th slowest film ever to reach $100 million in domestic box office (and the most recent film on the list). Why? It’s a film that demanded repeat viewings and audiences took their unsuspecting family and friends along for their 2nd or 3rd viewing to get their opinions.

Please share your good and bad memories about these two films. Do they still hold up? Music? Performances? Whatever comments you’d like to share . . .

Filed under News
Dec 12, 2011

Vanilla Sky Soundtrack Production Notes

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We are launching a new Retro feature. Today, we take a look at the Vanilla Sky Soundtrack Production Notes. Enjoy!

New Tracks From Paul McCartney, R.E.M. And More Featured on Vanilla Sky Soundtrack

Vanilla Sky, one of the most eagerly awaited cinematic events of the season, will be released in conjunction with a landmark soundtrack album featuring new material by such legendary artists as Paul McCartney and R.E.M., as well as key tracks from Radiohead, acclaimed Icelandic band Sigur Ros, film score composer Nancy Wilson, The Chemical Brothers and many others.

Set for release on December 11th on Reprise Records Music From Vanilla Sky, captures the extraordinary impact and emotional resonance of producer, director and writer Cameron Crowe’s widely anticipated follow-up to last year’s most inventive and original film, Almost Famous.

And, as will all of the filmmaker’s work, music is an essential element in the sweep and sensibility of his cinematic storytelling. It was in that context that Crowe worked closely with long time collaborator and soundtrack producer Danny Bramson. The team of Bramson and Crowe, whose work encompasses music for five films, including landmark soundtrack for 1992’s platinum-selling Singles, and most recently, the Grammy-winning Best Soundtrack for Almost Famous, also share production credits on Music From Vanilla Sky.

“I think everything I’ve ever written or directed began with a song, or an album,” remarks Crowe. “Vanilla Sky always felt like New York City, the passionate eclectic mix of a great radio station you might hear after-hours in one of the greatest cities in the world. When we were filming, music was always playing, in between and during takes. With the help of Danny Bramson and Scott Martin, we set about making that radio station the sound of our movie and soundtrack. A soundtrack should always be a souvenir of the experience you had in the dark with the movie, and this is our experience in the dark with Vanilla Sky.”

For almost twenty years, Cameron and I have had the same ongoing joke,” says Danny Bramson. “The joke is that his writing and casting and filming is all just an elaborate excuse for us to get in the cutting room and play music very loud. Our process of fitting songs to the movies is a very fun, very fluid thing. It begins with the characters and what they would listen to, and it extends to the mood of the film and the themes and the shots themselves. You always know when it’s right, and with Vanilla Sky we knew very early on that the movie would have a modern New York feel. Tom Cruise’s character is very plugged into music, plays it constantly, and as his emotional journey begins, the music acts as our… and his tour guide. It was an honor and a privilege to have such cooperation from artists who don’t normally allow access to their songs and sometimes even their separated tracks. Thanks to Paul McCartney, R.E.M., Sigur Ros and so many others, along with our editor Joe Hutsching, we were able to honor and craft a lot of our favorite music to create the sound of Vanilla Sky.”

Written and directed by Cameron Crowe, Vanilla Sky stars Tom Cruise and Penelope Cruz and was freely adapted from the 1997 Spanish feature, Abre los Ojos, directed by Alejandro Amenabar (who also helmed the recent hit The Others). It tells the story of David Aames (Cruise) a handsome, charismatic publishing magnate who meets the girl of his dreams and is thrust unexpectedly into a mind-bending search for his soul, discovering in the process, the ephemeral nature of true love. The Paramount Pictures, Cruise/Wagner – Vinyl Films Production also stars Kurt Russell, Jason Lee, Noah Taylor and Cameron Diaz.

Among the album’s many highlights is the title track, written and performed by Paul McCartney, who became a part of the film’s creative evolution after screening some twenty minutes of early footage. Inspired by what he saw, the former Beatle went on to write “Vanilla Sky,” a song destined to embody the unique spirit captured on the screen.

“All The Right Friends,” a new song from R.E.M., is also among the key selections spotlighted on Music From Vanilla Sky. The Grammy-winning band also contributed “Sweetness Follows” from their multi-platinum 1992 release, Automatic For The People.

Music From Vanilla Sky also highlights “Everything In It’s Right Place,” from Radiohead, first heard on their bestselling 2000 Kid A album and a rare example of the critically acclaimed band giving their creative stamp of approval to a film.

The soundtrack also includes “Svefn-G-Englar” by Sigur Ros, the brilliant new group from Iceland whose involvement in Vanilla Sky extends to two more tracks heard in the film.

A newly remastered version of Peter Gabriel’s “Solsbury Hill,” taken from his 1977 debut release is another key Vanilla Sky selection and harkens back to Bramson and Crowe’s potent use of Gabriel’s “In Your Eyes” in his 1989 directorial debut …Say Anything.

Also included is “Elevator Beat,” a selection from the film’s score, composed by Nancy Wilson, founding member of Heart and film score composer for …Say Anything, Jerry Maguire and Almost Famous.

Among other highlights of Music From Vanilla Sky are “Where Do I Begin” from the Chemical Brother’s 1997 album Dig Your Own Hole; the late Jeff Buckley’s “Last Goodbye” from his 1994 release, Grace; “Porpoise Song” recorded by The Monkees for their psychedelic 1968 film Head and “Mondo ’77” from the band Looper, first heard on their 200 Subpop release, Geometrid. Another Subpop staple, Red House Painters, contributes “Have You Forgotten” a song written especially for the film by Mark Kozelek, who portrayed the bass player in the fictional Almost Famous band, Stillwater.

Nebraska-based singer and songwriter Josh Rouse performs “Directions” while the electronica/hip-hop combination of Leftfield and Afrika Bambaataa weigh in with “Afrika Shox” from Leftfield’s 2000 release,Rhythm & Stealth. The classic Todd Rundgren track “Can We Still Be Friends” from his landmark 1978 release, The Hermit of Mink Hollow is spotlighted on Music From Vanilla Sky as is Bob Dylan’s in-concert rendition of “Fourth Time Around,” from Bob Dylan Live 1966. Crowe previously made brilliant use of Dylan’s music with his inclusion of “Shelter From The Storm” in Jerry Maguire.

The selection “I Fall Apart” written by Cameron Crowe and Nancy Wilson is credited to Julianna Gianni, the Vanilla Sky character portrayed by Cameron Diaz, who makes her singing debut with the track.

Danny Bramson is Warner Bros. Records Executive Vice President of Soundtrack Development, and is one of the Executive Producers of Vanilla Sky.

Courtesy of Warner Bros./Reprise Records

Filed under Retro
Feb 1, 2011

Paste’s 10 Best Movie Soundtrack

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bestofthedecade_sq

As part of their Best of the Decade series, the always great Paste magazine shares their 10 Best Movie Soundtracks. Vanilla Sky lands at #8 and Almost Famous was their #5 choice. Here’s what they said:

8. Vanilla Sky (2001)

Cameron Crowe’s follow-up to Almost Famous was confusing, aching and beautiful, and the music and that played throughout its disorienting scenes—eerie selections from Radiohead and Jeff Buckly, plus oddly jaunty moments thanks to Peter Gabriel Todd Rundgren—perfectly augmented that off-kilter mood. As a bonus, Crowe tossed Sigur Ros in the mix three years before Steve Zissou and his crew confronted the jaguar shark to the tune of “Staralfur.”

5. Almost Famous (2000)

The soundtrack of this decade’s best cinematic ode to the glory years of rock ‘n’ roll could’ve just been a greatest hits of assorted tunes by Led Zeppelin, The Who and The Allman Brothers. While those bands do show up, the compilation plays more like the best classic rock mixtape your dad never made, including perfect live versions (Bowie covering The Velvet Underground’s “I’m Waiting for the Man”) and under-appreciated album cuts (The Who’s “Sparks” from Tommy). And after the movie’s sing-along scene, only the soulless can resist “Tiny Dancer.”

Filed under News
Dec 15, 2009

David Crosby: Remember My Name-Out Now on DVD/Blu-ray & Digital!


  • Almost Famous- Paramount+
  • Aloha- Starz, DirecTV
  • David Crosby- Starz, DirecTV
  • E-Town- FUBO
  • Fast Times- TUBI
  • Jerry Maguire- Netflix
  • Say Anything...- FUBO,Paramount+,MGM+
  • Singles- Vudu
  • Vanilla Sky- Prime Video,Pluto TV
  • We Bought A Zoo- Disney+