Paul Thomas Anderson is a filmmaker widely celebrated for his distinctive visual style, intricate narratives, and, notably, his masterful use of music. Beyond the original scores crafted by collaborators like Jonny Greenwood, Anderson’s films are replete with expertly chosen “needle drops” – pre-existing songs integrated into key scenes that not only set a mood but often become indelible parts of the cinematic experience.
These musical selections are rarely mere background noise. Instead, they serve as extensions of character, propel the plot, or provide ironic counterpoints to the on-screen action, cementing their place as classic moments in modern cinema. Anderson himself has often spoken to the integral role music plays in his creative process.
“It’s all about the music… I feel like I’m a good DJ in my own mind, I’m playing songs all the time,” Anderson once told NME, highlighting his deep connection to and reliance on musical curation in his work.
An Ear for the Era and the Emotional Core
From the sprawling ensemble pieces of the 1990s to his more intimate character studies, Anderson’s soundtracks are a testament to his eclectic taste and keen understanding of how a song can amplify a moment. His early work, particularly 1997’s Boogie Nights, is a treasure trove of era-specific hits that define its 1970s and 80s setting. Rick Springfield’s “Jessie’s Girl” provides a buoyant, almost naive soundtrack to Dirk Diggler’s early exuberance, while Electric Light Orchestra’s “Livin’ Thing” underscores a pivotal roller-skating sequence with a blend of longing and ambition. The film closes with Walter Egan’s “Magnet and Steel,” perfectly capturing the bittersweet nostalgia of its characters’ intertwining fates.
Similarly, Magnolia (1999) weaves together its disparate storylines with an emotional resonance often heightened by its musical choices. Harry Nilsson’s “One” sets a melancholic yet hopeful tone for the film’s sprawling opening montage, hinting at the interconnectedness of its characters. Fleetwood Mac’s “Tusk” brings a frantic, almost ritualistic energy to another key sequence, showcasing Anderson’s ability to use sound to build narrative tension and thematic depth.
Music as Character and Commentary
Anderson’s needle drops frequently become synonymous with the characters themselves. In Punch-Drunk Love (2002), Shelley Duvall’s “He Needs Me” from the 1980 film Popeye (a film Anderson has cited as an influence) acts as a recurring motif for Barry Egan’s fragile yet burgeoning love, its innocence and yearning perfectly mirroring his internal world. Later, a moment scored by Harry Nilsson’s “Must Be Love” encapsulates Barry’s frantic, yet determined, pursuit of Lena.
Even in his darker, more atmospheric films, music finds its purposeful place. Can’s “Vitamin C” in the opening of Inherent Vice (2014) immediately plunges the viewer into the hazy, countercultural milieu of 1970s Los Angeles, its hypnotic rhythm reflecting the film’s dreamlike quality. The Master (2012) features a haunting rendition of Nat King Cole’s “Mona Lisa” performed by Joaquin Phoenix’s character, Freddie Quell, a moment of unexpected vulnerability and longing that cuts through the film’s otherwise austere tone.
Nostalgia and Revelation in Recent Works
Anderson’s more recent films continue this tradition of impeccable musical curation. Licorice Pizza (2021) is a veritable mixtape of 1970s classics that perfectly encapsulates the youthful energy and nascent romance of its protagonists. David Bowie’s “Life on Mars?” provides an epic backdrop to Gary Valentine’s audacious strides, while Paul McCartney & Wings’ “Let Me Roll It” captures the carefree spirit of adolescence. Clarence Carter’s “Slip Away” adds a raw, soulful depth to a memorable, high-stakes driving sequence, revealing hidden facets of Alana’s character.
These selections demonstrate Anderson’s unparalleled ability to choose songs that are not just popular, but are imbued with a timeless quality, ensuring they resonate with audiences and remain an integral part of his cinematic legacy.
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