Jonny Greenwood is reasonably well known as a member of Radiohead, but some might be unaware of his own compositions and film scores. Now, while Alexandre Desplatt is all well and good (well extremely good I suppose), Greenwood is one of the most interesting composers and musicians around today.

His score for Bodysong was well received, and marked his entrance into film score composition.


Popcorn Superhet Receiver is an astounding composition. It really is no surprise that he ended up collaborating with Paul Thomas Anderson on There Will Be Blood later, and included elements in the film’s soundtrack. Whenever There Will Be Blood is discussed, the music always comes up. We often use the word ‘arresting’ as an adjective to describe awesome visuals – but in this case, it’s apt for Greenwood’s score. As you would expect, Anderson and Greenwood collaborated yet again on The Master.

‘To make a film, the final big collaborator that you have is the composer. Jonny was really one of the first people to see the film. And when he came back with a bunch of music, it actually helped show me what his impression of the film was. Which was terrific, because I had no impression. I had no idea what we were doing.’

– Paul Thomas Anderson discussing There Will Be Blood, from an EW article by Chris Willman

Hearing work such as this, and understanding how useful collaborations between directors and composers are, I’m interested to see whether the short films we produce in Film-TV 1 at RMIT will include composers, or pre-existing tracks. Arguably, There Will Be Blood has a little of both. While our film is unlikely to have much music, if any at all, it’s still something I think will be an incredibly important decision to consider on any project.


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