This is best evidenced by the score’s strongest song and one of the film’s main themes, “House of Woodcock.” It’s the first Greenwood piece to be played in the film, and it soundtracks the morning beauty routine of Reynolds Woodcock: pirouetting piano chords and plush string arrangements move in beautiful, choreographed unison as Daniel Day-Lewis shaves, brushes his hair, and dons a crisp dress shirt. The resulting songs are intense and almost comically rich-the sonic equivalent of a caviar and foie gras sandwich. But there are also touches of popular jazz and big, bodacious string recordings (inspired by Ben Webster) in the background of the score, to give the film’s setting its appropriately grand feel. He has said that a principal reference point was Glenn Gould’s Bach recordings-the kind of cerebral, minimalist, and “obsessive” baroque music that would fit with the film’s hifalutin mood. Working with such an opulent backing band allows Greenwood to craft truly ornate pieces. Greenwood’s compositions are as lavish and lush as the film’s old-world beauty: Aided by a 60-piece orchestra, the scope of the score far exceeds his previous work for film. It follows a tumultuous courtship between the renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and a waitress and model named Alma Elsen (Vicky Krieps). Set in mid-1950s London, in a world of high fashion and faded glamour, Phantom Thread is among Anderson’s most luxurious and romantic period pieces.
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