It’s a cruel world. If you didn’t already know this, just check out the “first look” at Inherent Vice from Paul Thomas Anderson. The image of Joaquin Phoenix as burnout SoCal detective Doc Sportello, created by Thomas Pynchon in the novel of the same name, is teeny-tiny. (It’s not unlike our first real look at Lancaster Dodd from The Master.) But it comes with a candid shot of Radiohead’s Jonny Greenwood, who is scoring the film. And it’s an implicit promise of more materials to come. Read More »
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Paul Thomas Anderson and Jonny Greenwood are working together again. I can’t quite think of Greenwood’s music as fun — the Radiohead guitarist and occasional film composer creates sounds that are deeply affecting and even cacophonously emotional, but not “fun,” exactly.
Anderson is also not exactly a poster child for levity. Yet his new film film Inherent Vice is based on a Thomas Pynchon novel that is among the author’s most wacky and energetic books. It is certainly one of Pynchon’s easiest reads, with some madcap criminal activities and a set of weirdo SoCal characters. It’s a fun book, if one stretches the definition of “fun” into realms of the strange.
Anderson’s facility with character and dialogue makes him seem like a great choice to tackle the material, and some of the story’s tone should please fans who have always wanted another Boogie Nights from Anderson. Now the director has recruited Greenwood to provide the score. Read More »
The Master opens in limited release on Friday, but one of the most anticipated aspects of the film — Jonny Greenwood‘s score — can now be enjoyed in full. While I can’t say that everyone should obsessively listen to this score before seeing the film, as the music plays a very special part in the development of the film’s progression, just as you’d expect.
But if you just have to sample the full score now, the music service Spotify is able to accommodate you. In addition, the entire score for Dredd, composed by Paul Leonard-Morgan (Limitless) can be heard for free. Read More »
Paul Thomas Anderson‘s latest film, The Master, is one short month away. For limited cities at least. Until then, it’ll be playing in all its (hopefully) 70mm greatness at several different film festivals and buzz will likely begin to build for all aspects of the film: the performances of the lead actors Philip Seymour Hoffman, Amy Adams, Joaquin Phoenix, Anderson’s direction and, most likely, the score by Jonny Greenwood.
Details of his score have now been revealed and one site even has a sample of a track called “Application 45 Version 1.” See the full track listing and listen to two songs from the album after the jump. Read More »
Posted on Monday, July 23rd, 2012 by Angie Han
Now that we’ve all watched (and rewatched, and re-rewatched, if you’re me) the stunning first trailer for Paul Thomas Anderson‘s The Master, the big question is when we’ll actually get to see the damn thing. A theatrical release date of October 12 has already been set, but it’s bound to hit the festival circuit first.
Most cinephiles have been predicting a Venice Film Festival debut for the film, and it’s still very possible that it could happen. However, American movie lovers may be excited to hear that it looks like Anderson’s also got some interest in returning to Austin’s Fantastic Fest, where he premiered There Will Be Blood five years ago. More details after the jump.
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After what seems like years of speculation and delays, Paul Thomas Anderson is in post-production on The Master, his film that is either a lot or a little inspired by the life and work of Scientology founder L. Ron Hubbard. The movie stars Philip Seymour Hoffman as the title character, with Joaquin Phoenix, Amy Adams, Laura Dern and many more appearing as well.
And now it seems that Anderson has turned to Radiohead guitarist Jonny Greenwood to score the film, just as he did with There Will Be Blood. Read More »
Posted on Saturday, October 15th, 2011 by Angie Han
Briefly: It’s taken some time, but American audiences will finally get their chance to see Tran Anh Hung‘s nostalgic romance Norwegian Wood. We first wrote about the project way back in 2009, and the finished film hit the festival circuit to positive reviews in fall 2010. But for whatever reason, the movie never quite made it to our shores.
Thompson on Hollywood now writes that Soda Pictures and Red Flag Releasing will team up to give the film a U.S. release at long last, with a theatrical run planned for January 2012. A VOD release will then follow in the spring, with DVDs planned to hit stores in mid-2012.
Based on an extremely popular 1987 novel by Haruki Murakami, Norwegian Wood unfolds against the backdrop of the student protests in late ’60s Tokyo. College student Toru (Kenichi Matsuyama, Death Note) first falls in love with the beautiful, fragile Naoko (Kikuchi), then meets the lively Midori (Kiko Mizuhara). Hung’s film also boasts a soundtrack by Jonny Greenwood, who previously scored There Will Be Blood.
Check out the trailer, which we first posted back in February, after the jump.
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The name Lynne Ramsay may not ring any bells right now, but the talent she’s been surrounding herself with for her next project indicates that this could change very soon. Ramsay wrote and is currently in the midst of directing We Need To Talk About Kevin, based on the novel by Lionel Shriver about a troubled husband and wife dealing with the fact that their son perpetrated a murderous school shooting. Tilda Swinton has been on board since the beginning, and John C. Reilly later joined as well.
If that casting wasn’t enough to entice you, perhaps this will do the trick. Radiohead member Jonny Greenwood will be composing the score to the picture, making this his first English feature film score since Paul Thomas Anderson’s There Will Be Blood. Learn more after the break. Read More »
Let’s hope this isn’t a sign of things to come in regards to the Academy Awards for Paul Thomas Anderson‘s There Will Be Blood: Jonny Greenwood‘s feted instrumental soundtrack for the film, seen as a shoe-in for Best Original Score, has been officially disqualified. The reason? The score contains preexisting music. Red Carpet District reports that Greenwood’s score contains “35 minutes of original recordings and roughly 46 minutes of pre-existing work (including selections from the works of Arvo PÃ¤rt, as well as pieces in the public domain, such as Johannes Brahms’ “Concerto in D Major”).Â Peripheral augmentation to the score included sporadic but minimal useage (15 minutes) of the artist’s 2006 composition “Popcorn Superhet Receiver.”
While I downloaded the soundtrack and admire it, I admit that the above details regarding source material eluded me. Rules are rules; even though I’m sure some die-hard Radiohead and PTA fans can’t be talked into coming down from their anger trees right now. What’s more surprising is the supreme suddenness of the Academy’s announcement, with Greenwood learning the decision via an official letter on January 17th, and the studio, Paramount Vantage, two days later. In comparison, Paramount Vantage says they learned that the soundtrack for their Into the Wild was also ineligible (due toÂ predominant use of songs) much further in advance. And it sounds as if the studio would have appealed the TWBB decision if they had the proper time.
Right when the impossibly important category starts to attract the attention and interest of a younger demographic, poof! Maybe it’s time to reinstate the “Adaptation and Song Scores” category, which has been off the ballots since 1984?
Â Â Â Source Link: Variety /LAT