The torrent of abuse really started to wear me down in ways I couldn’t previously imagine,” he continued. “I began receiving specific expressions of violence, the content so vivid it made me sick. “Even worse, id Software still refuses to pay for it, despite the fact their contract guarantees payment for any additional minute requested beyond the original budget.”Īfter going into detail about the release of the soundtrack and the poor response it got, as well as the legal back and forth Gordon endured with id Software, the letter explains how Gordon was subjected to “online abuse” which “escalated at an alarming rate as Marty’s Reddit post led to frustration over my alleged professional failure, and toxic gamers grew openly aggressive.” Gordon then goes into issues with pay, claiming id Software “used nearly all the music I produced throughout development - almost five hours worth – while only paying for half of it.” Acts of hate dished out online won’t result in any positive change. ⚠️This statement is not an excuse for a hate campaign. Refusing to accept the reality of the situation, he threw the proposal back in my face and proceeded to tear me down for having the audacity to raise the issue in the first place.” Gordon claims he “proposed an alternative plan that reflected the reality of development” but Stratton “rejected my belief that the current schedule was flawed and suggested my act of trying to do something about it was a sign of incompetence. The requirement to write, perform, record, produce, mix, master and implement two levels of music - with feedback rounds - every 30 days, when the levels themselves were bare-bone, now looked ridiculous.” The soundtrack is fucking dope-the way Tarantino pairs scenes with music is awesome-but when you view the entire film as a whole though there is nothing cohesive about Kill Bill's sound.“It was a masterpiece in Excel but a disaster in reality. Kill Bill's soundscape is pieced together from disparate bits of Tarantino's favorite bits of music from spaghetti westerns, chambara films, pop tunes and the holes are then filled in by the RZA in spectacular fashion.

Dunkirk is a great recent example, the constant anxious mood created by that film's use of ringing tones really defines the whole of that films's soundscape to the point where any film in the future that uses ringing tones in a similar manner will immediately recall Dunkirk.

When you think of great soundtracks, there is often a 'signature'-a style of sound that becomes associated with a film. Tarantino is excellent when it comes to marrying together old pieces of film scores and pop tunes with his images to create iconic sequences but sonically, his films are all over the place as a result. I heavily disagree with this in spite of my love for Tarantino and my perception of Kill Bill as the quintessential Tarantino film because of the way is smashes together all of his influences into a single film.

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