Watchmen/Allison Crowe

Had a post a while back about a friend of the show Allison Crowe.  Heard she was getting some music in a big movie.

Plans ended up changing but her music was very close to being used in ‘Watchmen’.  They had her covers of Me and Bobby McGee and Hallelujah.  But ended up going with the originals.  As for Hallelujah, if you’ve seen the movie you know scene that song was used. lol.

Reprinting parts of the blog run by Adrian her manager with more details on it.

Discussing this latter scene, in which leather/latex fetishism of costumed crime-fighting serves to conquer male impotence, Zack Snyder provides insight into the wedding of music to imagery and action. “I originally had a different version of ‘Hallelujah’ on that scene – it was the version by Allison Crowe, and it was really beautiful,” he explains to the Boston Phoenix. “Too beautiful, as it turned out, because when I showed it to my buddies, they were like, ‘Wow, you really mean this, this love scene.’ So I was like, okay, that didn’t work.”

To fit this particular dystopian vision, Allison Crowe’s singular, modern, covers have made way for the film’s use of the original song recordings. The famous Janis Joplin and Leonard Cohen tracks are paired, instead, subversively.

It’s tremendously exciting for Crowe to be part of The Watchmen movie process and, “mind-blowing”, as she describes it, to receive such respect and appreciation. Looking to the independent Ani DiFranco as a model, she says it’s an honour, and, “stirs a certain somewhat buried hope that things can still be done the way I believe they can… and that there are still people who love music for music’s sake”.

The graphic movie scene involving characters Nite Owl and Silk Spectre II continues to be a very hot topic of discussion amongst those who have now seen The Watchmen on the big, or, even, bigger (IMAX) screen.

Crave Online asks the film’s Director Zack Snyder: “What about the Leonard Cohen song?”

Zack Snyder: “There are two Leonard Cohen’s because there is a Leonard Cohen on the end titles as well. Hallelujah, that love scene, I originally had the Allison Crowe version of that song, a version I’ve always loved, but in the end was just too romantic. Everybody thought that I meant it. They thought the love scene was serious, not that it isn’t serious but her version was too sexy. So I was like yeah, I’ve got to go back to the Leonard Cohen. For me it is incredibly ironic, even with that version of the song it is incredibly ironic. I don’t care what version of Hallelujah is on, that love scene it is ridiculous, but in a great way. With Leonard Cohen it is like you can’t miss it now, can you? I’m sure some people will but that is fine.”


I’ve seen the movie and that scene in particular.  Of course I knew how the song was going to be used so I was prepared.  Regular audiences must’ve had a big surprise.  I’ll talk about it more on the show on Friday.  I’ll save a blog post about it till the weekend.

Short version, the scene seemed really silly to me.  I think that’s what Zack Snyder wanted from what he said.  I think.  I would’ve like Allison’s music to be used in the movie, in some capacity.  Maybe next time.

As for her version of Hallelujah, here you go from YouTube.  3 Million views and counting.



  1. Shireen

    Interesting post about how music can affect interpretation of a scene. I find music is often over-used or too much the same as all other movie music to make a difference, and now I’m wondering if that’s because the director doesn’t notice the nuances like apparently Zack Snyder did here or because they get so close to the subject they don’t notice they got the wrong effect?

    • Robert

      I did see the SQUID reference on the computer monitors. Nice touch. I still think they should’ve kept the real Squid or some alien thing near the end. Ending of the movie seems flat with the way they did it. [Those who haven’t read the book have no idea what I’m talking about, lol.]

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