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This article originally ran in December 2015.
Mary Ramos is a fixer as much as shes a music supervisor.
I started working on post-production forReservoir Dogs.
Quentin had another music supervisor at the time.
We were denied for Girl, Youll Be a Woman Soon.
Neil Diamond denied it.
So, I wrote him a letter.
As a matter of fact the girl almost dies from her folly.
And he let us use the song.
He quoted me back to me without knowing.
Quentin set this musical palette of Jackie Brown being R&B.
He went into the old R&B section of his record room and started coming up with stuff.
Inside My Love was great.
It just plays like a gorgeous slow dance.
There was a piece of music we wanted to use from theCoffyscore.
We were denied by the publisher because they said there was one writer they couldnt find.
We couldnt use it until we got approval from that writer.
He was going to come in the very next night and play.
It also connected this guy back with his publisher who had just been collecting revenue over the years.
So, I got him hooked back up with some money.
Kill Bill: Vol.
Its one of my most proud moments.
That one almost didnt happen.
Can you imagine that scene without that magnificent disco flamenco?
The piece of music was totally unclearable.
I was like, No, Im not going to tell my director he cant have it.
So, I had two days to do this.
I had to track down the lead singer.
Im telling you, I searched obituaries and phone books and copyright searches, you name it.
I just went through every single scrap of information I could find.
Leroy and his wife were my date for the premiere.
That was a fun one!
Another one where Quentin set up the musical palette.
The palette was a jukebox.
His own personal jukebox, really, which has this eclectic collection of stuff.
Its in the background in the bar.
This song just makes me so happy to hear because that was one that I suggested to him.
Django Unchained: John Legend, Who Did That to You?
John Legends original song plays while Django (Jamie Foxx) escapes.
Djangowas a wonderful experience.
I felt like that was a big triumph, really.
John Legend was inspired and he contacted me and sent me a link to his song.
Quentin fell in love with it immediately.
Hes now passed away, but that was a real cool experience.
Our label partner gave us a great opportunity to work with Tupac Shakurs estate to create a new piece.
Making a new song for Quentin was kinda iffy and I didnt want to blow the opportunity.
Tupacs engineer worked on some dialogue and some gunshots, and put together this dynamic piece.
And it plays over one of the biggest, bloodiest gun battles ever!
I had to really beg Richie Havens camp and write letters and describe the scene to them.
They initially turned it down because of the bloody violence.
Theres a reason why this is happening.
InThe Hateful Eight, there are a couple of moments that just give me chills.
Like the main title, last stage to the Red Rock piece.
Its the way the score hits for the reveal of the stagecoach.
And especially the way it hits when Ennios name appears.
It gets really big and the strings really amp up.
I get goosebumps every time I see Ennio Morricone.
Quentin uses Ennio Morricones score as if it were a pop song.
Thats the stuff that Quentin has always been interested in using.
They talked about all the other genres that Ennio has worked in, especially his thriller and horror genres.
And thats how Quentin saw this film.
When Ennio was reading it, he told Quentin he had a theme that just popped into his head.
