How to Use a Rock Song in a Drama

"Well, Dr. Smartypants, it's easy to criticize, but can you name any effective uses of rock music in a movie or tv series?"

Yes, I can, and thank you for asking that perspicacious question. Certain directors are fairly effective at selecting rock songs to play within their movies, such as Martin Scorsese, who often gets help from friends like Robbie Robertson or Eric Clapton. In Casino, when Joe Pesci's character describes how he and his gang used Las Vegas as their personal thieves' paradise, Scorsese plays "Can't You Hear Me Knocking?" by the Rolling Stones as the underscore. Chilling as well as cool.

Television producers, though, can rarely afford to get the music rights for tunes by such well-known groups--although I notice a Rolling Stones song was used during an episode of Criminal Minds this year. They also have to worry about securing the rights for any future viewings of the show--such as on DVDs now. Some shows have not been released on DVD because the cost of the musical rights for the songs in them are prohibitive.

However, one movie director who is fairly accomplished at using songs in his movies also directed a two-part television episode of CSI that contains one of the best uses of a song in a drama I've ever heard. Quentin Taratino directed the episode "Grave Danger," in which CSI investigator Nick Stokes is kidnapped by a man who wants revenge on the department for what he thinks they unfairly did to his child. He send a cassette and a jump drive to the other members of the team.



The song is "Outside Chance" by the Turtles (it was not coincidentally written by Warren Zevon). The song works at several levels. As Marge Helgenburger's character complains, it taunts the team. "You don't stand an outside chance." It also describes Stokes's situation in his grave. "Stone walls surround me--I'm surprised that you even found me." And its jaunty, percussive use of the electric piano is an ironic counterpoint to the concern on the team's faces as they watch the monitor. "I'm only flesh and bone--but you may as well forget me . . . you better leave me alone--yeah."

When I first saw this scene, I immediately realized that it was a) unlike most other scenes in a tv show, and b) that was only possible because of Tarantino's clout. On a normal episode, this scene would have lasted a quarter of the time, just long enough to give the audience the pertinent information. But look at how Tarantino draws out the scene--the first circular pan around the team at the table, the camera swooping up and down. Then the look on the faces of the team as they watch Nick--the time spent on the slow close-ups and push-ins. It makes you wish that tv directors focused less on plot and more on character.

Oh, and in case you think that the CSI team was completely glum that day: