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When I listen to certain film composers, it is sometimes immediately apparent they are fans of Ravel’s music. While Ravel himself didn’t consider Boléro an important piece, it has “gone viral” somewhat — probably due to the catchy rhythm that drives it relentlessly forward. When I heard Ennio Morricone using that rhythm in a sound track, it was an immediate cue, and a natural choice for a remix against Boléro. I also think any “warhorse” piece which has been over-played or misused is fair game.

Wikiepedia: Boléro

Boléro became Ravel’s most famous composition, much to the surprise of the composer, who had predicted that most orchestras would refuse to play it.^[3] It is usually played as a purely orchestral work, only rarely being staged as a ballet. According to a possibly apocryphal story, at the premiere a woman shouted that Ravel was mad. When told about this, Ravel smiled and remarked that she had understood the piece.^[6]

Imagine in your mind the villain from Diva (1981) — but instead of polka music, he’s listening to Boléro over and over… while he merrily commits terrible violence. The guns, brass, vocals and signature whistling are courtesy of Morricone. The ending was difficult, as I’m combining two separate recordings of Bolero; it has to have a “big finish” — a.k.a. fortissi-issi-issi-issi-issimo. One trick employed here is substitution sleight-of-hand; the “jump cut” out of Morricone is made possible by the two chords which lead to the “coda” in Boléro. Also, in the development I wove the theme onto itself to provide additional interest, since everyone knows the piece so well.

Maurice Ravel Ennio Morricone - Bolero Bill v3.mp3 (15:23 19.2M)