Alejandro Gonzalez Iñarrítu isn’t really known for the use of music in his films. He’s a modern filmmaker, certainly, but not a modern pop filmmaker in the way Quentin Tarantino or Wes Anderson are. He’s far more meat and potatoes, even as he explores boundary-pushing narrative techniques.

I read an interview where he was asked how much of a debt his debut film, Amores Perros, owed to Pulp Fiction (both films follow three storylines out of sequence) and Iñarrítu said that, though he’s a fan of Tarantino, he never made the connection… he was too busy trying to steal from William Faulkner.

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