Putting together the perfect soundtrack for a film is its own art form. It’s a task that most often makes use of existing tunes and can achieve an almost magical symbiosis with the images onscreen. Think of Leonard Cohen’s ballads floating over the snowbound romantic folly of Robert Altman’s McCabe and Mrs. Miller or the way Simon & Garfunkel’s songs offer a suite-like metanarrative in The Graduate as two legendary examples. Filmmaker Haroula Rose mentions both in a recent conversation, which also touched on the way Paul Thomas Anderson drew on bespoke material in Magnolia, commissioning an original song cycle […]