Why the BirdsOfPrey soundtrack is better than it has any right to be
soundtrack. How did you approach this one and how was it going to fit into the DC Comics universe while still being its own entity?
We got the sense early on that they wanted a fun kind of energy. So some of the songs reflect that, and there are some more serious, deeper records as well. In those early conversations, I pitched the idea of an all-female album, since is a female ensemble of badasses. Having a companion album that complemented the film, by way of that same aesthetic, would be super cool.
The way I sequenced this thing was, I got all the songs, and I spent a lot of time with Joe and Brandon, and we basically tried to come up with the sequence that ties all the music together into a listening experience. And it’s like what I did on, where I put “Purple Lamborghini” first and right out of the gate, you get hit by a record that just grabs you. I try to do that as unique to each project, you know, and on this project, it really felt like “Boss Bitch” was that record.
And then we had a very high production quality music video by Jora Frantzis, who’s incredible – I’m super hands-on as far as the videos, the marketing and the edit of the videos, the look, the feel, the sensibility. If you look at the videos, you’ll see there’s a very purposeful approach to how we tie the aesthetic of the film to the visuals of the music videos, and the artists and their styling. We recreated sets from the movie in these videos.I try to be so thoughtful about that.
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