It may be a while before Thom Yorke becomes known as the king of movie music, but he’s off to a fast start, now that he’s finally started accept film assignments. Last year, he scored and wrote son…
Yorke also contributed to the screenplay, although he didn’t know it. “There are funny little Easter eggs,” Norton says. “When Lionel [the character he portrays, who deals with Tourette syndrome] is describing his head to Laura [played by Gugu Mbatha-Rawand], he says, ‘It’s got to have everything in its right place.’ That was one of my little nods to Thom.”
“Thom is a real musicologist,” Norton says.” He loves jazz and his taste and expertise in music are incredibly erudite and wide-ranging.” For ”Motherless Brooklyn,” “I think what I said to him was that I felt the condition of Lionel’s brain is one that is in some ways analogous to the kind of music Thom makes. It has sentiment and longing and is human, but it’s also this chaotic, dissonant space in which, like his music, things loop in reverse and rewind.
Yorke’s version first appears over a montage in which Norton’s character comes home and, seemingly with a sense self-loathing, examines his own tics in a mirror. Later, the Marsalis arrangement appears in a more peaceful setting, as Lionel and his African-American almost-love-interest, do a slow dance at a jazz club in Harlem.
The song was turned in early enough for Norton to incorporate the title into the dialogue. “I put it into the scene with Laura in the car when she says, ‘We’ve all got our daily battles.’ He had read the script, but somehow Thom captured something in the song that wasn’t actually in the film .
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