The film is fuelled by almost constant music - a lot of work for the composer which is no wonder he hired no less than three orchestrators and a conductor. The opening is particularly effective - Elfman created a supportive bed of sound with a full orchestra and chose a cantering tempo to match that of the editing. The result being that the film clips along at a very comfortable pace.
As the score progresses, several motifs start to emerge: One of these is very similar to the main motif of another famous film by Elfman - Alice in Wonderland. Melodically, the motif is the same (it outlines a minor third) and rhythmically, the only difference is that while Alice in Wonderland’s motif is a in a triplet rhythm, The Unknown Known is in quavers (groups of 4). Another main motif is based on an alternating figure, centralised on one note and usually heard in the bass. Its slow tempo and low tessitura creates a sense of unease in the score when heard. The film latched onto three very potent metaphors to get across its point. One of which was also well supported in the score: The “Swamp” was originally a verbal metaphor used by Rumsfeld to describe the tangled mess American foreign policy had gotten itself into. Morris took this image and chose to represent it visually on screen with the added implication of Rumsfeld’s addled and labyrinthine morals. Elfman subsequently supports this idea musically with a complex mass of contrapuntal writing. In general, I felt that the score was well executed and displayed great workmanship. It was a fundamental aid to the director in his presentation of this intriguing character: One who demonstrated no qualms about any of his actions, leaving the viewer questioning how anyone with such bloody hands can possibly live with such an apparently unburdened conscience.26/30