no i to jego nie tylko najdłuższy ale i najobszerniejszy wykonawczo score: The soundtrack includes 18 compositions by Greenwood recorded with a 60-piece orchestra.
ShitTunes - 12.01.2018
CD - 9.02.2018
LP - 21.04.2018
Wow - The composer recorded his score with the London Contemporary Orchestra and the Royal Philharmonic Orchestra.
będzie Oscar, oni wszyscy będą na niego głosować
Wywiad dla Variety i sporo o scorze -
The film’s piano-and-strings dominated score, which received a Golden Globes nomination for best original score, plays a key role in defining the lead characters of Reynolds Woodcock (Daniel Day-Lewis), the 1950s London couture designer, and Alma (Vicky Krieps), his model and lover. Anderson first called Greenwood about it a year ago.
“We talked a lot about ‘50s music, what was popularly heard then as well as what was being written and recorded,” Greenwood tells Variety. “Nelson Riddle and Glenn Gould’s Bach recordings were the main references. I was interested in the kind of jazz records that toyed with incorporating big string sections, Ben Webster made some good ones, and focus on what the strings were doing rather than the jazz musicians themselves.”
Greenwood reasoned that if Reynolds listened to music, it would have been Gould. “Lots of slightly obsessive, minimal baroque music,” says Greenwood. “And we could use the piano as the common ground between the romantic music and the formal, slightly more buttoned-up themes that suited Reynolds.”
The romantic movements “couldn’t cross into pastiche, or be in any way ironic,” he says. “It took a long time to figure out how to do that.” At one point, Greenwood recorded with an ensemble of 60 strings, his largest ever.
Some of the cues, however, are played by only a quartet. “The smaller groups, and solo players, work like close-ups [and] not necessarily to accompany [a] visual, but rather, to focus your attention on and make you feel directly engaged with the characters. The bigger orchestral things often worked best for drawing you back to see the bigger situation.”
“These were turned into a whole body of work for him to draw from, and to request longer, shorter, faster versions and variations,” says Greenwood, adding that, “Some cues were written specifically to scenes. Others were just sketches of the characters, or of the story.”
All told, some 90 minutes of music ended up in the final cut. Says Greenwood: “When I told [this to] Robert Ziegler, who conducted the score, he said, ‘That’s not a soundtrack, that’s a musical!’ But I know I’m pretty lucky to work on films like this, where there’s so much scope for developing a score over such a long time.”
- Marek Łach
- + Jerry Goldsmith +
- Posty: 5668
- Rejestracja: śr maja 04, 2005 16:30 pm
- Lokalizacja: Kraków
a tutaj mamy kompozytorów, którzy mają świetnie oceniane tytuły filmowe w tym roku, a do tego z dobrą muzyką, a mimo tego reklamują i chwalą konkurenta (!). I to właśnie tacy wybierają wygranego
Score leci non stop w filmie przez ponad 2h, w tym kupa muzy źródłowej, a jednak nie zrejectowali, pewnie dlatego że Beethoven był, co nie HP ?
a my się obawialiśmy o jakąś Dunkierke z zaledwie jednym temacikiem źródłowym...
I've seen Phantom Thread, and it is a fascinating, gorgeous film. The performances, direction, cinematography, design, scoring and costuming are excellent. What is fascinating about it is that it harkens to older classical find, British in particular, but has this very subtle off-center, almost perverse undercurrent about it. Its pure Paul Thomas Anderson, but its almost like early David Lean mixed with David Lynch. It's long, over 130 min, but it's a pleasure to watch such masterful filmmaking and performances. The film has almost non-stop underscoring ! - both original music, classical pieces and period popular music. Often each sequence is almost like a musical movement. I plan to get the CD too.