![]() ![]() Stone apparently even had cut a scene to their music and then was forced to re-edit the scene after Godspeed refused at the last minute. Reptilian director, Oliver Stone’s asked to use “Moya” in his absurdist football comedy, “ Any Given Sunday,” but the band naturally refused to give their consent. Not surprisingly, after the “28 Days” experience, the self-righteous ideologues shot down further film inquiries. So Boyle basically went without, grabbed an Eno and Grandaddy song, used the Murphy knock0ffs and voila, the soundtrack was complete.Ĭontrary to popular opinion though, GY!BE weren’t completely dogmatic two years earlier they had lent their music to the IFC documentary about the golden age of horror films, “ This American Nightmare” (the group allowed the documentarians to use “Moya” also from f# a# oo) I challenge you to find even one instance and will paypal you $10 if you can find substantial information). If you can find any article where GY!BE disassociates itself with “28 Days Later,” please, please send it to me. I googled up the wazoo, but could not find one such case to back up the story I had read years ago utitizling multiple search engines and various Internet archives. (As an aside: curiously enough, not one article from this period exists. Some ardent extremists were shocked that Godspeed would even agree to such a thing to which the irritated collective would point to the disclaimer above their heads reading, “Please do not ask Godspeed about 28 Days Later, to us it does not exist.” One measly song, “East Hastings” (the movement, “Sad Mafioso,” specifically, from the album f# a# oo) was used in the film, but Godspeed still had a shit-fit, fearing that their reputation as difficult, stringent assholes might be ruined with Sassy magazine readers the world round (as part of their initial agreement, the song would be utilized in the movie, but it would not appear on the soundtrack CD and this agreement was never breached). ![]() Godspeed felt swindled and quickly disavowed any association with the film. To these PETA-endorsing, gentrification-fighting communists, this was tantamount to treachery of the highest order. However, when Boyle sold the militant, landlord wary politicos his idea, “28 Days Later” was an indie, not yet backed or financed by big-business interests – this would change (Initially however, ‘28 Days’ was shot on a shoestring budget and indeed came on the coattails of two major financial and critical Boyle bombs – “The Beach” and “A Life Less Ordinary.” At the outset, Boyle was forced to keep it simple and scale back).Īllegedly, Godspeed and the film auteur agreed to the terms on a handshake deal and then later, when Boyle and producers were looking for distribution and financing, Fox Searchlight came a knockin’ and acquired the film. And what we did was use that track at the beginning and then the composer, John Murphy, took it as inspiration for the end.” – Danny Boyle in Res Magazine. This slow, very elegiac start which their music builds from virtually nothing to an apocalyptic crescendo it was a fantastic template for the film. “We went to meet them and they were very reluctant as normally they don’t license their work for features. And more importantly – his disassociation with the studio hegemony. ![]() Naturally suspect of any commercial endeavors GY!SE initially declined, but eventually relented after they met Boyle face to face and were down with what seemed his honest, pure intentions. Months before, Boyle ceaselessly harassed Godspeed chasing them via email, begging them to use songs, taking them out for a herbivorous dinner (naturally) and sending many a passionately-worded letter. Boyle was so smitten with the punctuation-moving, Montreal squatter-orchestra Godspeed You! Black Emperor, when he could only acquire one song from the notoriously anti-corporate, fiercely anarchistic doomsday rockers, he contracted composer John Murphy to essentially write an entire soundtrack that sounded like Godspeed facsimiles. The whole film was cut to Godspeed in my head,” Boyle told the Guardian. For me, the soundtrack to ’28 Days Later’ was Godspeed. Like when we did ‘Trainspotting,’ it was Underworld. “I always try to have a soundtrack in my mind. When British director Danny Boyle made his comeback film, “ 28 Days Later” – a genuinely terrifying zombie film ostensibly about the end of the world – he wanted dark, apocalyptic music. “The car’s on fire and there’s no driver at the wheel and the sewers are all muddied with a thousand lonely suicides and a dark wind blows” – monologue intro to “The Dead Flag Blues” ![]()
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