"At first glance, music and film seem so terribly disconnected, joined together more by the convenience of having to keep an audience entertained on multiple levels than by the feeling that music and images simply belonged together (and just to get our terminology correct, a “soundtrack” for a film is ALL the sound going on in a motion picture, not just the music). Now, of course, the idea of music existing totally separate from a moving image is archaic – any major musical creation requires an accompanying video. Similarly, it’s rare to the point of nonexistent for a major motion picture to exist without music. In our modern conscience, the two are of a piece, though rarely regarded as such.
When Paul Thomas Anderson’s There Will Be Blood came out, a surprisingly large number of critics found fault in the overwhelming nature of Johnny Greenwood’s score. I found that it enhanced the picture tremendously, leaving us teetering on the edge of, ideally, our very sanity, certainly our hold on reality, a struggle familiar to Daniel Plainview. Its dissonance reflected and created the uncertainty and fear Anderson laid the groundwork for. More pointedly, it represented a continuing development in Anderson’s work that is often discussed film-by-film in a sort of throwaway sense (“oh, and the music’s great”), but, to my knowledge, never considered as essential to his oeuvre from Boogie Nights onward – for Anderson, music isn’t there to simply enhance or underline something created separately in the film; music is as essential to the image in the creation of cinema itself."Read the complete piece here at The Rail of Tomorrow.
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