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About The Music
In addition to achieving the look of the period, "Moonlight Mile" also draws on the sound of the early 1970s, and plays a vital role of the storytelling.

"Throughout the film, Joe is sitting on a secret," says Silberling. "Because of that secret, he has to be careful about what he says. So, I wanted there to be a score to his internal thoughts — pieces of music, favorite songs of mine — and through those songs, the audience might understand Joe's thoughts and feelings. In each case, those songs helped me direct the movie in my head, and also guided my writing process.

"Music and moments go hand in hand in the writing," notes Silberling, "and the bulk of the music that's in the picture is music that was included actually in the screenplay. Plus, a number of these songs, first and foremost ‘Moonlight Mile,' Van Morrison's ‘I'll Be Your Lover, Too,' and also the Jefferson Airplane's ‘Comm' Back to Me,' I had playing on a CD loop, when I was writing. These songs put you into a pretty remarkable headspace."

Silberling, who was nine in 1973, has distinct aural memories of the time period. "After school you're taking turns heading to other friends' homes, there would always be that music playing behind the door of somebody's older sibling," he says. "These songs all had this wonderful romantic mystery to them."

"Brad was sending me music even before we started shooting," says Susan Sarandon. "I think he hears music with his dialogue, and it's important to establish those sounds, especially in a period film. The thing about Brad's music choices is that he's always trying to give his scenes an energy; it's never sentimental."

The central song in the film is the title song, a Rolling Stones tune that closed out the band's seminal album "Sticky Fingers" — a lesser known song from an album that includes some enormous hits. "I never wanted the film's soundtrack to be a ‘Top 40 of 1973,"' Silberling notes. "I tried to find a way to present the songs as a new experience and yet have them feel tremendously familiar, and that's achieved by taking what they call ‘album cuts' from a number of some of the more important albums from the day. It's the B-side you find on the jukebox in Cal's bar, as the film is about exploring the B-side of life, the B-side of emotions. Everybody has a familiarity with the most popular songs from ‘Sticky Fingers,' but it's amazing to me the number of people who don't know ‘Moonlight Mile.' Even Robert Plant, who's doing a cover of ‘Song to the Siren' for the film, saw the film and then said, ‘What was that Rolling Stones track?' Nobody knows this music!"

In the film, Bertie uses "Moonlight Mile" as a reminder of Cal, her boyfriend, who is MIA in Vietnam. It was supposed to be their song, even if Cal never got the chance to hear it. "So, in an odd way, it becomes Joe and Bertie's song. And it's got a key lyric — ‘I am just living to be lying by your side I but I'm just about a moonlight mile away.' When people ask me what the song is about, I always say it's about the distance between where you are and where your heart wants to be," Silberling continues.

"The Stones are very selective about which films they'll license to," notes Silberling. "I started trying to license that one track close to nine months before we ever started shooting. It became a personal process; I wrote a number of notes to the band and to the publishers; I screened my earliest cut of the film for their managers back i


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