![]() And so it’s very important to me that that body of work has a through-line to it. Soundtracks are a rare kind of medium where people still consume them as a whole, versus piecing off tracks in a single listen. I want something that you can listen to front-to-back. I always try to approach this where we’re creating a body of work. How did you make sure it all fit together? There’s a real cohesiveness to the sound of the album as well, even though it’s all different artists and different producers. Having a companion album that complemented the film, by way of that same aesthetic, would be super cool. In those early conversations, I pitched the idea of an all-female album, since Birds of Prey is a female ensemble of badasses. So some of the songs reflect that, and there are some more serious, deeper records as well. We got the sense early on that they wanted a fun kind of energy. So very early on, I went and did a lot of creative meetings with Margot, the director Cathy, producer Sue Kroll, and really just started to ask them questions: What’s your vision for this character? What’s your vision for the aesthetic and the sensibilities of this film? What are you looking for from music to compliment that? How did you approach this one and how was it going to fit into the DC Comics universe while still being its own entity?Ī lot of it was led by what we believed was going to be the aesthetic and the vibe of the film going into it. You previously produced the Suicide Squad soundtrack. Rolling Stone called up Kevin Weaver, head of Atlantic Records’ West Coast division, to talk about how the soundtrack came together, and why it’s attracting more attention than your typical movie accompaniment. Since then, other songs from the soundtrack - from Megan Thee Stallion and Normani‘s Marilyn Monroe-sampling “Diamonds” to the Saweetie and Galxara collab “Sway With Me” - have arrived with their own glossy videos and viral attention. While some original soundtrack songs feel like cutting room leftovers, “Boss Bitch” quickly established itself as a single in its own right. Instead of your average, less-than-compelling soundtrack single, “Boss Bitch” was a club track that called to mind similar bops from Nicki Minaj and Azealia Banks (to the point where Banks even addressed the single and gave it her blessing on Instagram). Doja Cat turned heads last month with the colorful, mischievous video to “Boss Bitch,” her contribution to the soundtrack of the new Harley Quinn movie Birds of Prey.
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