Inherent Vice

8/18/2019 Inherent Vice

1/6

START STOP

MUSIC TITLE or

(DESCRIPTION) COMPOSER

0:01 0:35 example theme j.s. bach

1:01 2:45 dreamin' on a cloud The Tornados

2:45 4:45 Rhythm of the Rain The Cascades

4:53 7:00 Shasta Jonny Greenwood

7:21 13:25 Vitamin C Can

16:10 18:26

Under the Paving-Stones, the

Beach! Jonny Greenwood

19:09 20:00 simba les Baxter

20:00 21:05 simba les Baxter

30:55 36:43 spooks Jonny Greenwood

36:43 40:35 burning bridges Jack Scott

43:00 46:00 the golden fang Jonny Greenwood

48:36 52:24 made up title: connecting the dots Jonny Greenwood

53:00 56:10 "Journey Through the Past" Neil Young

56:35 58:40 Here Comes the Ho-Dads the marketts

58:40 1:03:49 adrian prussia Jonny Greenwood

1:03:59 1:04:05 the golden fang Jonny Greenwood

1:19:23 1:25:00 adrian prussia Jonny Greenwood

1:14:30 1:17:00 Journey Through The Past Neil Young

1:27:32 1:30:00 Sukiyaki Kyu Sakamoto

1:30:01 1:40:00 The Chryskylodon Institute Jonny Greenwood

1:45:16 1:52:05 SHASTA FAY HEPWORTH Jonny Greenwood

1:53:02 1:58:00 ADRIAN PRUSSIA Jonny Greenwood

1:58:54 2:07:02 Shasta Fey Greenwood

2:11:16 2:13:15 Wonderful World Sam Cooke

2:13:33 2:16:04 Amethyst Greenwood

2:16:09 2:21:39 SHASTA FAY HEPWORTH Greenwood

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2/6

G:>/

NARRATIVE MOMENT TYPE OF SCENE

introduction opening credits

Introduction

atmosphere, introduction,

setting

Narration seduction

Shasta leaves, gathering info about Mickey

preparation, aftermath,

investigation

transition

transition, investigatoin,

revelation

Doc goes to Chick Planet Atmosphere/Mood, Setting

Doc gets knocked out Aftermath,Recognition

Transition, investigatoin,

revelation

Doc gets caught Atmosphere/Mood, Investigatio

Secret meeting Recognition, Revelation.

Dinner scene investigation, recognition

spying from the window Atmosphere/Mood.

talking in the room Atmosphere/Mood.

at the party Investigation

on table talking Preparation, Exposition

on office meeting Atmosphere/Mood, Recogniti

running in the rain Preparation

Exposition

Transition

Conversation with Shasta

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Going through the files, introducing Vincent

discussing investigation/

searching documents plot

development

Doc becomming the bait scene. further development

The exchange scene Climax

Doc rescues his client Climax

Doc and Shasta have a final conversation and Doc talks

to bigfoot Resolution


3/6

9:1045H 7=0I/

SHOT NOTES

MUSIC, OBJECTIVE

NOTES MUSIC, FEEL COMMENTS

stark landscape, bold titles

orchestra, thinlyorchestrated, a pad, no

rhythmic pulsing, mostly

strings

ominous, tense, strings

but a sound of Tasks

even with the oboe

I like how the music

works with the

titles…a lot

diagetic, from the radio happy, poppy

close face-shots sparse, winds

credits appear rock band, vocals cool, dark, driving sweet tune, man

Mostly inside of the car drums, guitar tense, melancholy

shot from beside the two characters from the radioshot looking up to the sky,

shot looking down to the ground

fades from background

to foreground silly, bombastic

close, low angle guitar, electronic drums smooth

action, close

close shots in the alleyway atmospheric, guitar

low angle, still. light guitar, piano? repeated spooky

still, slow edit

wide, fast edit guitar, piano active, happy, cool

strings, pads, vibes ominous

guitar, violoin, strings

the music feels

mysterious

cognition comments

wide, high-angle electric guitar, drums, piano sounds sad

the song was about

the past, thats why it

felt kinds sad

Shot of Shasta and doc talking, then the two

walking on the beach

horns playing small motific

melodies, very low volume,

orchestral ominus

quick cuts, skimmng documents, close ups,

many different locations

give a mood to the narration.

plucked, stacatto strings,

simple, upbeat spooky yet uplifting

close-ups, possible climax, follow cams,

strings growing in intensity,

dull plucks. ambient adding

intensity

slight intensity, soft

plucks slowly building

creates interesting effect


4/6

Horve 1

Patrick Horve

McWhorter

MUS 380

19 April 2016

An Interesting Combination: A Review of the Music of Inherent Vice

Jonny Greenwood created a very interesting score and soundtrack for Inherent Vice. The

reason that I believe these two should be differentiated is that there are really two parts to the

music in this film. There are the large orchestral pieces that were composed by Greenwood, and

then there are the pieces that are brought in, not only from Greenwood’s own band, but from

other performers as well. This combination of music creates an interesting effect throughout the

movie and ultimately creates a successful film.

First off, the orchestrated pieces in this movie are very well put together. These pieces of

music, for example “Shasta,” are orchestrated in a way which is very oriented on strings. This

provides a couple different effects on listeners. These largely orchestrated sections seem to have

a more emotional effect on listeners. However, this is not necessarily taken advantage of

throughout the movie. For example, as Ben Hogwood writes, these scenes “do not always match

the atmospheric pictures Greenwood has taken time and care to paint, and when we move

straight from Greenwood’s Shasta Fay into Les Fleur it is as if a giant windscreen wiper has

changed the view in a single stroke.” (MusicOMH) Even though this may seem like a strange

thing to do, this does create an interesting effect throughout the movie. This disorientation in

music could be traced back to the drug influenced actions of Doc. It is often tough to give the

audience a feeling for what an individual is going through, and music can very successfully do

this. Through the music, we feel disoriented and confused just as Doc is moving throughout the


5/6

Horve 2

movie disoriented and confused. As best said by Jayson Greene, “if this soundtrack were a room

full of furniture, in other words, you would shield your eyes from the clash. But it might actually

make for a sleeker and more condensed vehicle for the film's stoned, clammy energy than the

film itself.” (Pitchfork)

For the other part of the soundtrack, there is an interesting mix of songs, both from

Greenwood’s Radiohead and a multitude of other artists. Once again, “Each of these songs are

supposed to mirror the inner ear of the film’s chief protagonist, private eye Larry “Doc”

Sportello.” (Glide Magazine) I thought these instances of outside music, combined with

Greenwood’s own orchestral compositions, did a fantastic job of portraying the mood and

emotions that were going inside the head of Doc. Another interesting effect that I thought really

brought the movie and music together, especially in these non-orchestrated segments, was the

use of very long fade outs of the music. As this was done, it slowly made you focus more and

more on the dialogue that was occurring in the movie. This is a genius way to bring the audience

into the action, and a very interesting technique, especially when paired with some of the pther

sections of the movie where it seemed the music went on for quite awhile.

Lastly, the silence in this movie was very important. I thought that the silent parts of the

movie really helped to portray the tense and awkward feel of a majority of the movie. Even

though the music played a big part in the movie, the segments of silence really worked well, and,

like I have already said, really provided a good way for the audience to be brought into the story.

Even though this soundtrack was not as “traditional” as many other soundtracks, I thought it did

a nice job of pairing up music and cinematography in a way that really engaged the audience and

created a good movie.


6/6

Horve 3

Works Cited

Greene, Jayson. "Inherent Vice OST." Various Artists: Album Review. Pitchfork, 11 Jan. 2015.

Web. 18 Apr. 2016.

Hart, Ron. "Inherent Vice Soundtrack (ALBUM REVIEW) - Glide Magazine." Glide Magazine.

Glide Magazine, 23 Dec. 2014. Web. 18 Apr. 2016

Hogwood, Ben. "Jonny Greenwood - Inherent Vice OST | Albums | MusicOMH." MusicOMH .

MusicOMH, 19 Jan. 2015. Web. 18 Apr. 2016

Documents

Inherent Vice