The movie was being awarded the Audience Choice Award from the Taipei Film Festival. Panay's theme song "Aka pisawad" won the Best Original Film Song of the 52nd Golden Horse Awards. Panay worked in the city as a journalist. One day, she found her tribe has been overdeveloped and changed by tourism. They were losing their land and their culture, so she decided to return home to bring back the abandon terrace. Three general comments from three media about the movie are as follow: In the process, she found it’s not only about the land, but also about who she really is. This heartfelt drama illuminates many of the complex issues faced by Taiwan's Aboriginal communities.Īnd the movie also received a number of accolades.What would the movies be without music? Imagine Do the Right Thing without Radio Raheem’s blaring boombox. Or Pulp Fiction without Dick Dale’s cataclysmic surf-rock guitar. Or Super Fly without Curtis Mayfield’s haunted croon. It’s impossible to do. Throughout film history, songs have added glory to struggle, majesty to landscapes, depth to heroes and villains alike. When sound and vision meet, transcendence ensues. In looking at the greatest movie music of all time, Pitchfork is publishing two separate lists this week: best soundtracks and best original scores. Today, we discuss soundtracks, which we’re defining as collections of songs that have been used in films. (We're excluding musicals from both lists, as they feel like a different category entirely.) These are usually multi-artist compilation albums, and almost always include songs with vocals and lyrics. Stay tuned for the best original scores list later in the week. Though directors are often given sole credit for a movie’s soundtrack, many people help bring music to the big screen. Among them, music supervisors are an essential and undersung part of process. These are the people who find songs and secure their usage in films, which means they likely played a huge role in shaping your music taste today. “I’m a Casting Director for Music”: A Conversation With Karyn Rachtman So to kick things off, let’s talk to one of cinema’s most accomplished music supervisors. Over the last 30 years, Karyn Rachtman has brought her taste and business savvy to some of the most iconic soundtracks of all time: Clueless, Pulp Fiction, Reality Bites, Romeo + Juliet, Moulin Rouge!, and Boogie Nights, just to name a few. Pitchfork: When you’re not actively working on a movie, do you look for songs to put on the back burner for future soundtracks? Rachtman, who now runs her own music supervision firm, Mind Your Music, and lives in New Zealand, called Pitchfork to talk about career hangups, convincing musicians to participate in scandalous scenes, and one unforgettable dream meeting. Karyn Rachtman: Back in the day, I was a hoarder. I could go into Tower Records with an expense account. If I liked the artwork, if somebody told me about the band, if it was from a different country, I would always pick up whatever cassette was on the shelf. Now, I’m really appreciating the daily mixes on Spotify, even though I always prided myself on being that person who digs through crates. When people just send me general submissions, I usually listen to the more obscure stuff. Is being a music supervisor way more business-focused than people assume? I figure I’ll hear all the pop stuff anyway, but I’m not really into pop, and I don’t think people are hiring me on projects because I’m going to bring them a pop song. It’s a creative business, but it’s business. Like, tell me what you’re looking for, I’m going to get it for you. In the case of Quentin Tarantino, I got to put in my two cents on Reservoir Dogs and Pulp Fiction.
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