MUS380/S16/MCW

Inherent Vice MUSIC CUE SHEET

Paul Thomas
Jonny Greenwood, composer

START

STOP

0:01

MUSIC TITLE or
(DESCRIPTION)

0:35 example theme

COMPOSER

j.s. bach

1:01
2:45
4:53

2:45
4:45
7:00

dreamin' on a cloud
Rhythm of the Rain
Shasta

The Tornados
The Cascades
Jonny Greenwood

7:21

13:25

Can

16:10
19:09

18:26
20:00

Vitamin C
Under the Paving-Stones, the
Beach!
simba

20:00

21:05

simba

les Baxter

30:55
36:43
43:00
48:36
53:00
56:35
58:40

36:43
40:35
46:00
52:24
56:10
58:40
1:03:49

spooks
burning bridges
the golden fang
made up title: connecting the dots
"Journey Through the Past"
Here Comes the Ho-Dads
adrian prussia

Jonny Greenwood
Jack Scott
Jonny Greenwood
Jonny Greenwood
Neil Young
the marketts
Jonny Greenwood

1:03:59
1:19:23

1:04:05
1:25:00

the golden fang

adrian prussia

Jonny Greenwood
Jonny Greenwood

1:14:30
1:27:32
1:30:01

1:17:00
1:30:00
1:40:00

Journey Through The Past

Sukiyaki
The Chryskylodon Institute

Neil Young
Kyu Sakamoto
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
2:11:16 2:13:15 Wonderful World
2:13:33 2:16:04 Amethyst
2:16:09

2:21:39 SHASTA FAY HEPWORTH

Jonny Greenwood
les Baxter

Greenwood
Sam Cooke
Greenwood
Greenwood

Name

NARRATIVE MOMENT

TYPE OF SCENE

introduction

opening credits
atmosphere, introduction,
setting

Introduction
Narration
Shasta leaves, gathering info about Mickey
transition
Doc goes to Chick Planet
Doc gets knocked out

seduction
preparation, aftermath,
investigation
transition, investigatoin,
revelation
Atmosphere/Mood, Setting

Doc gets caught

Secret meeting
Dinner scene
spying from the window
talking in the room
at the party

Aftermath,Recognition
Transition, investigatoin,
revelation
Atmosphere/Mood, Investigation
Recognition, Revelation.
investigation, recognition
Atmosphere/Mood.
Atmosphere/Mood.
Investigation

on table talking
on office meeting

Preparation, Exposition
Atmosphere/Mood, Recognition

running in the rain

Preparation
Exposition
Transition

Conversation with Shasta

Going through the files, introducing Vincent

Doc becomming the bait scene.

The exchange scene
Doc rescues his client
Doc and Shasta have a final conversation and Doc talks
to bigfoot

Conversational, plot
development
discussing investigation/
searching documents plot
development

further development
Climax
Climax
Resolution

Patrick Horve

SHOT NOTES

stark landscape, bold titles

MUSIC, OBJECTIVE
NOTES
orchestra, thinly
orchestrated, a pad, no
rhythmic pulsing, mostly
strings
diagetic, from the radio

MUSIC, FEEL

COMMENTS

ominous, tense, strings

but a sound of Tasks
even with the oboe

I like how the music

works with the
titlesa lot

happy, poppy

close face-shots

sparse, winds

credits appear

rock band, vocals

cool, dark, driving

Mostly inside of the car

shot from beside the two characters
shot looking up to the sky,
shot looking down to the ground

drums, guitar
from the radio
fades from background
to foreground

tense, melancholy

close, low angle

action, close
close shots in the alleyway
low angle, still.
still, slow edit
wide, fast edit

guitar, electronic drums

smooth

silly, bombastic

atmospheric, guitar
light guitar, piano? repeated spooky
guitar, piano
strings, pads, vibes

active, happy, cool

ominous

guitar, violoin, strings

d, Recognition

wide, high-angle

sweet tune, man

electric guitar, drums, piano sounds sad

horns playing small motific

Shot of Shasta and doc talking, then the two melodies, very low volume,
walking on the beach
orchestral
give a mood to the narration.
quick cuts, skimmng documents, close ups, plucked, stacatto strings,
many different locations
simple, upbeat
strings growing in intensity,
dull plucks. ambient adding
close-ups, possible climax, follow cams,
intensity

ominus

spooky yet uplifting

slight intensity, soft
plucks slowly building
creates interesting effect

the music feels

mysterious
comments
the song was about
the past, thats why it
felt kinds sad

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 Greenwoods 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 Greenwoods 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

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
Greenwoods Radiohead and a multitude of other artists. Once again, Each of these songs are
supposed to mirror the inner ear of the films chief protagonist, private eye Larry Doc
Sportello. (Glide Magazine) I thought these instances of outside music, combined with
Greenwoods 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.

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