Greenwood has scored many films, particularly for Paul Thomas Anderson.
Of course, this is not his first rodeo, in several senses. Throughout, Greenwood uses the steeliest points of the classical canon to carve canyons and buttes into the hard, treacherous shape of a psychological metaphor. The clever thing is that once you know, you can hear it everywhere in Greenwood’s score: in the cantering acoustic guitar trail laid through sharp-peaked strings on “25 Years,” in the brass that evokes a harmonica’s call and fall on “Requiem for Phil,” and even in the chromatic enfilades of “Detuned Mechanical Piano,” which suddenly seems less like Conlon Nancarrow and more like a player piano running amok in a saloon.
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