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The Steakhouse: Jonny Greenwood's Score

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    Stream two tracks, via The Playlist:
    • CommentAuthordbe2101
    • CommentTimeJan 11th 2008
     
    without a doubt the most integral soundtrack to an american film in years. as if the members of radiohead hadn't brought enough glory into the world...
    • CommentAuthormmonaco
    • CommentTimeJan 11th 2008
     

    I wish the soundtrack had some of the non-Jonny Greenwood tracks, but alas.

    • CommentAuthorbachtune
    • CommentTimeJan 11th 2008
     

    The thing I really admired about the soundtrack stems from PT Anderson learning from the mistakes of Punchdrunk Love.  There the soundtrack just overwhelmed with its non-traditional ways.  Here, it augments and comments and frankly rocks my socks off.

    • CommentAuthorno9pin
    • CommentTimeJan 11th 2008
     

    Even listening to it now I can imagine every scene, and kept wondering during my first sitting through this movie how PT Anderson could have created a movie before hearing it.  I can't even think of a scene without the soundtrack now playing in my mind.  The second sitting I gave up wondering, because, well, is there a need? It's better to just let it wash over you, just like the film independently does.

    • CommentAuthorNordling
    • CommentTimeJan 12th 2008
     

    I think the score's a goddamn helluva show, myself.

    • CommentAuthorjuansolo
    • CommentTimeJan 12th 2008
     

    has this album been released?

  8.  

    Truly a great and effective score, but it felt a little overused at times

    as a device to maintain tension. The rythymic quality of the score was delightful.

    • CommentAuthorBQuain
    • CommentTimeJan 12th 2008
     

    I do miss the whole thought that Jon Brion wasn't used, but the soundtrack is just as intense and pretty briiliant at the same time...

    enjoy

    b.quain

  10.  
    directly after the film ended, I went next door to Barnes and Noble and purchased the soundtrack. I've been listening to it for weeks and then saw the film twice more.
    • CommentAuthortherev
    • CommentTimeJan 12th 2008
     

    it's definitely one of the best scores of the year...the other two that come to mind are Atonement and The Assassination of Jesse James. Also worth picking up if you're into musical scores.

  12.  

    I hated the soundtrack - it was too much.  The screeching, growing violins reminded me of that pre-movie ad for the type of sound system in a theater (often with a small man coming out to bang on the letters that drop down or a robot).  I started covering my ears when the violins would kick in.

    • CommentAuthorerik
    • CommentTimeJan 14th 2008
     

    love the music, there are a few occassions where I don't think it always fits perfectly, like points near the beginning, but later in the film it is for the most part fantastic and fitting.

  14.  

    Some people call it too much, but I have to think that they just weren't "in" the movie enough to really get it... hah. The score is actually extremely effective at suggesting the evil and horrific nature of the things that are happening right below the surface of the film (and that of Daniel Plainview himself). At first glance, yes, the music contrasts with what is happening on screen; the music is extremely dramatic while not much appears to actually be happening in the story. And while I did not like that aspect of the score in Magnolia, I found it extremely effective in TWBB. The contrast is an illusion; if you trust the filmmaker and trust you the music, you begin to realize that it's not an uneventful story at all; it is in fact extremely eventful and compelling... you just have to realize that all the really interesting things are happening, much like the oil in the story, right beneath the surface. The music is what clues the viewer into that. The viewer just has to trust the music as an aspect of what the filmmaker intended, and not try to think, "Wait, that's not right... I wouldn't have used that kind of music for that part of the movie..." It's a great example of a viewer's preconceptions ruining a movie for them. Trust the filmmaker more often; it can really pay off sometimes.

  15.  

    The use of Arvo Part's Fratres was a good compliment to Johnny Greenwood Score.  You can get it from iTunes.  Get all the tracks, because it's a very powerful work. Pieces have been used in other films such as Winter Sleepers and Farenheit 9/11, and others I'm sure.  Very cinematic.

    They say that the original score was disqualified from being an Oscar contender.  Anyone know why?

    And I LOVED the scores of both Magnolia and Punch-Drunk Love.

  16.  

    the score was disqualified due to the use of arvo part's music, along with the song that pops up after ddl says "i'm finished" among other pre-existing works....which is just complete bullshit if you ask me. they say there is 45 minutes of pre-existing music, but most of it is jonny greenwood's own music...it's just this weird, obscure rule that exists solely to screw over possible nominees. as for my thoughts on the soundtrack i got the score for christmas and listen to it non-stop. its amazing.

    • CommentAuthorHoni Soit
    • CommentTimeJan 25th 2008
     

    I don't think that's quite right.  The guideline states that "An original score is a substantial body of music in the form of original dramatic underscoring written specifically for the film by the submitting composer."  The Part and Brahms that they used as source music are fine (has to be, since Atonement, which did get nominated, uses Puccini's Madame Butterfly).  But because Greenwood's score is partially derived from a piece he wrote for the BBC a few years back, it isn't considered to be "written specifically for the film."

    I agree that it's a stupid rule (or at least applied stupidly in this case).

  18.  

    ah that makes more sense. thank you for clarifying.

  19.  

    Since the score is so integral to the action on screen, I have to imagine it would be a lot different to buy the soundtrack and listen to it apart from the movie. I wonder if it would sound better or worse in that other context, without the movie accompaining it.

    • CommentAuthorsues
    • CommentTimeFeb 7th 2008
     

    This week's New Yorker has a story on Greenwood.  I didn't buy it; for me to spend $4.95 on The New Yorker, it's got to have at least two articles that I want to read, and this issue only had one.  Eventually, I'll find a copy at the gym (that's how I got a hold of David Denby's excellent review.)

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