The RZA Makes His Own Breaks
By John Allina
Excerpted from FSM Vol. 9, No. 3, on
sale now...
Quentin Tarantino found the perfect musical complement for Kill Bill: Vols. 1 & 2 in the
RZA -- a hip-hop icon, who's transferred his gift for haunting, lyrical
beats to the world of feature film scores. Already, the RZA has been
nominated for a Grammy and a BAFTA for his score in Kill Bill: Vol. 1.
The RZA is proof that hip-hop culture has extended its reach to include
mainstream Hollywood movies. In five short years, he's racked up
credits on pictures directed by Tarantino, Jim Jarmusch and the
upcoming David Goyer film, Blade 3.
It was a natural tie-in for the RZA to work on pictures full of kung-fu
action and philosophy. The hip-hop group he produced, the famed Wu-Tang
Clan, derives its very name from a mythical kung fu sword.
As FSM learned, the RZA's film scoring days just might lead to stints
as a Hollywood director.
FSM: How would you describe
your music?
RZA: I wouldn't personally
describe it. I like to have the fans describe it, more than anything.
Sometimes I like the critics to describe it. But they give me a hard
run sometimes. But my roots are hip-hop. Anything I do is founded in
hip-hop.
FSM: Jim Jarmusch called you up
to do the score for Ghost Dog.
If he hadn't, would you have tried breaking into film scoring anyway?
RZA: It was ironic when Jim
called me, 'cause it was actually what I was thinking about. I was
starting my own movie at that time. I put up about 300 grand and shot
my own short movie. And I was about to start proposing music for it. So
I was looking forward to doing that, and then Jim, he came like an
angel almost, 'cause it was like, "Wow, somebody wants me to do what I
want to do." So it really was kind of ironic, 'cause me and Jim both
talk a lot about the consciousness, subconciousness, and the matrixness
and Zen of life.
Ghost Dog was a great
education for me. I went and you know what I studied? Peter and the Wolf. I studied that
play, cause it's sweet, shall we say. And I watched how they used each
instrument for a character. So when you watch Ghost Dog when it first comes on,
when you see a bird, you hear my flute [hums, "do-do-doo"]. And then I
brought in the hip-hop drums. I researched and realized there's an art
to it.
FSM: Wu-Tang Clan sampled from
kung fu movies, and now you've scored both Kill Bill movies. What's your
interest in kung fu movies?
RZA: My love for kung fu movies
is like my love for hip-hop clothes and it's really like, I think,
martial arts has been a right arm for me. No, maybe a left arm, cause I
give God the right arm. I love martial arts films, I love the Asian
culture, I love the philosophy behind it. I love the cinematography of
it. I love the music. I know a lot of those movies by heart. If you
ever see me acting [Coffee and
Cigarettes, Ghost Dog,
Scary Movie 3], I probably act
more like an Asian actor than an American actor. 'Cause I've watched
these movies, 20, 30 times apiece. I'm glad that Quentin did Kill Bill because he had Hollywood
invest so much money into this genre. And I'm looking forward to being
the next person to bring out a great martial arts movie. I'm looking
forward to getting my turn.
FSM: Were there any major
shifts in the music from Kill Bill
Vol. 1 to Kill Bill Vol. 2?
RZA: Yeah. Major changes. Kill Bill 1 had more needle drops
in it (songs), than part two. And also Robby Rodriquez [director, El Mariachi, Once Upon a Time in Mexico, etc.]
came on board for Kill Bill 2.
And this guy's a genius. I mean, you know his work as a director, you
know his work as a writer. Now you're gonna see his work as a musician.
I mean he's playing guitar. He's directing an orchestra. I basically
programmed a lot of music, and he took the music I programmed and had
an orchestra play to my music. Were gonna have a few unique moments in
this film.
FSM: What are some of the
differences in how Jim Jarmusch, Quentin Tarantino and now David Goyer
approach the music in their films?
RZA: Oh, super difference.
Three great minds, with three different backgrounds. Quentin is very
musically inclined. I like to call Quentin a hip-hop producer who
doesn't like to use the equipment [laughs]. 'Cause he has a lot of
records with a lot of great breaks in 'em. A lot of things that hip-hop
artists would love to get their hands on. A lot of DJs in fact. Jim was
more into the philosophy of what music brings about. And you see that
in his movies. And as far as David, he basically said, "give us some
dope sh*t." He's not trying to act like he knows music. I don't even
know how musically intuitive he is. But I know that he's got a great
piece of product here and he's very keen on me and Terence doing the
job. He can't really express what he wants, but he hears it. Some
people can't explain it in words, they gotta see it or hear it.
FSM: Are there any film
composers who've influenced your work?
RZA: I'm one of those guys who
watch movies with an open ear. So I hear everything and see everything.
But the people who stand out of all time, of course, are John Williams,
Hans Zimmer, and the Newmans. You look at something like Star Wars and Raiders of the Lost Ark, and you're
dealing with a master doing that work. I got a lot of respect for the
Hollywood composers. I know they're master craftsmen. If I could make a
thing like John Williams, [hums the bars] do-do-do-dooo, Close Encounters of the Third Kind...
It's like, Star Wars, I'd
love to do something like that.
And as far as from the earlier community as they call it, I try and
mold myself in the likes of, the approach that Curtis Mayfield had with
Superfly and Claudine, the approach James Brown
had with Black Caesar, and
Isaac Hayes when he did Shaft.
I also try and catch some of that vibe, too.
FSM: Do you eventually see
yourself directing your own movies?
RZA: That's my personal goal.
For the next phase of my life. You know, I did the hip-hop thing, I did
the touring, but I would love to cherry this off with me being
respected as a director.
FSM: What does the RZA mean?
RZA: Well, RZA is actually a
title. It means someone who went all around the world in search of
things, and found it inside himself. Sometimes you gotta look around
everywhere.
What's the old saying, God asked man, "Where should we hide the secret
of God? We'll hide it in the ocean. No, one day man will get a
submarine, and go to the ocean. Let's hide it on the moon. No, one day
man will get rocket ships, and go to the moon. Hide it inside himself.
He'll never look."
For the full story, check out FSM
Vol. 9, No. 3, on sale now...
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