Some critics call the Ocean’s casino-heist romps desert without the meal, a tenuous soufflé, trite and sometimes downright vacuous. Whatever your thoughts on the trilogy are, the finale of the series topped the box office this weekend with a $37 million dollar getaway.
What happens when you get Brad Pitt and George Clooney in a room? EW found out all too painfully that the twosome fuck around like school kids and give an incredibly shitty and self-indulgent goof-off interview.
However, you can always make chicken soup from chicken shit. A few notable tidbits:
-Apparently Steven Soderbergh hoped to title the trilogy’s finale, “Ocean’s Thirteen: The One We Should Have Made Last Time.” “More than anything we wanted another crack. We wanted to go out on a stronger note — and we felt like we had a great way to do it, which was revenge,” Clooney said.
– The duo also gave props to the upcoming generation of actors with Clooney singling out Ryan Gosling and Rachel McAdams and Pitt praising Heath Ledger.
We finally got our hands on the “Ocean’s Eleven Soundtrack,” which incidentally won a BMI film music award for electronic composer David Holmes (we’ve practically dedicated the week to him with posts about the score to Ocean’s 12 and 13 and the score to “Out Of Sight“). As we’ve mentioned, the score is a hip cocktail of taut, retro-chic funk, jazz and copacetic breakbeats. “The goal was to be Vegas but not obviously Vegas,” Holmes has said. The film also used tracks by Claude Debussy, Quincy Jones, the Percy Faith Orchestra and the classic, ’70s Vegas-era Elvis track, “A Little Less Conversation.” The track “69 Police,” is one of my particular favorites in scores from the aughts. It’s very simple, but its mantra-like melody is quite hypnotic.
Download: David Holmes – “$160 Million Chinese Man”
Download: Elvis Presley – “A Little Less Conversation”
Download: David Holmes – “69 Police”