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Golden Globe Nominee For Best Score On Double LP!
Radiohead guitarist Jonny Greenwood has been nominated for a Golden Globe for
Best Original Score to Paul Thomas Anderson's movie Phantom Thread.
The album features the film’s original music composed by Jonny Greenwood who
recorded his score with the London Contemporary Orchestra and the Royal
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.
"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
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."
Anderson first heard Greenwood’s themes-in-progress at the musician’s London
"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
"Building out from the movie's main theme — a delicate whirlwind of
violins that comes in four different variations, like a model being newly
outfitted for each new fashion season — Greenwood's score is a masterpiece of
troubled beauty, a glass of sherry spiked with poison. At first, in fraught
pieces like 'Boletus Felleus' and 'Sandalwood I,' the beauty is troubling.
However, by the time we get to the climactic lilt of 'For the Hungry Boy,' the
troubling has become beautiful. Greenwood perfectly intuits the tidal dynamics
of Anderson's perverse romance, and translates them into something that everyone
can feel for themselves. Thanks to Greenwood, 'Phantom Thread' would still be
one of the year's best films if you watched it with your eyes closed." -
David Ehrlich, IndieWire, The 10 Best Movie Scores of 2017, Rated 1/10!
• Double LP
To be announced