Paul Thomas Anderson

Yeah, yeah.

There was a piece of music that he had written for orchestra because he was already well-versed in how to write for string instruments.

It wasn't like, don't let him fool you.

It is really incredible.

And it's an opportunity.

You know, look, I think I don't know, there was no kind of crazy weird instrumentation or something like that.

He does do funny things with instruments where he'll detune certain pieces of the orchestra and keep others in tune.

And so he has the ability to make it sound very familiar.

You're hearing string instruments, but that sounds just out of body enough that you can't quite place it.

So he's brilliant like that.

But that sort of stuff, it's, you know, it's nice, it's trickery, but he writes beautiful music that complements the film and they go hand in hand and...

It was the beginning of a beautiful collaboration.

Yeah, for sure.

I mean, I had all kinds of... The stuff that I was listening to was stuff that he likes anyway.

Was it Penderecki or Schubert or, you know, even the piece that he had written for the BPC Orchestra.

So that was already kind of informing where my head was at.

And it was nice to go to him and say like, you know, the movie lends itself to just like wide open spaces and like a huge opportunity to fill long gaps of silence with music that can either be gigantically loud or even just simmering underneath.

So it was quite a good entrance into the game for him.

I love that.

Well, they're already sick of that Smile record.