The Oscar nominations have been announced, and because we all need to complain about at least one thing every year, let my gripe be with the Jonny Greenwood snub (apparently his score was disqualified). Karina will be sharing her own analysis later today. Stay tuned.
It’s been a serioustopic that Sundance isn’t the buying frenzy we all thought it would be. But when distributors talk about a filmmaker needing to pay them,it’s really a bad time for the festival.
I guess if one of the Jarecki brothers has to abandon documentary filmmaking for a feature debut starring Kirsten Dunst and Ryan Gosling, I’d rather it be Andrew (Capturing the Friedmans) than Eugene (Why We Fight), even if the trailer for All Good Things will be able to sneakily advertise the film as being “From Oscar-nominated director Andrew Jarecki.”
Last night, a number of musicblogs reported that portions of Jonny Greenwood’s score for Paul Thomas Anderson’s There Will Be Bloodwere streaming on a Paramount Vantage promotional site. So this morning, we clicked the link, followed the “Score” tab…and found nothing. The streams are nowhere to be found, the page in question blank but for the teaser that something unspecified will be “coming soon.” Did traffic from Pitchfork overwhelm the Paramount Vantage servers? What else could have happened in the intervening 14 hours to make the stream disappear? Oh, wait — it is Halloween. Spooky!
Anyway, all is not lost. The Playlist has been on this soundtrack like John Edwards on Hillary Clinton’s inconsistencies. They’ve got the track listing for the Blood soundtrack, which reveals that two of the “songs” used in the film are excerpts recycled from Greenwood’s 18-minute orchestral composition, Popcorn Superhet Receiver, which was commissioned by the BBC in 2006. They have a link to a Real Audio download of that on the BBC’s website.
Meanwhile, The Bathysphere apparently had a chance to listen to the stream before it vanished from the Vantage site. They point to this episode of Henry Rollins’ IFC show, in which the director says he listened to “a lot of crazy Polish pirate music” like KrzysztofPenderecki while writing the film (Rollins does a wide-eyed double-take at this tidbit that’s pretty priceless). The Bathysphere points to this MP3 of Penderecki’s Threnody To The Victims Of Hiroshima, which was also used in Children of Men, and which sounds *a lot* like the music that backed the twenty-minute reel of Bloodshown at Telluride.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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Last night, a number of 
