Someone has been paying attention to what David says about his choices of music and how important those choice are.

From The Playlist:

“6. “The Rover”
You gotta hand it to Aussie David Michôd. After “Animal Kingdom” the world was his oyster and he spent months in Hollywood looking at scripts and potential projects. But for a second act Michôd decided to take a bold left turn with “The Rover,” a dissonant, minimalist two-hander that feels literally scorched by the sun. For his post-economic-collapse picture, Michôd decided to only employ post-apocalyptic modes through mood, atmosphere, and music. While there’s some score by Antony Partos utilized, the bulk of the movie’s simmering, sinister musical tendencies are discordant and cacophonous source music by experimental and ambient composers the director chose (all of it listed here). There’s seminal avant-garde musician William Basinski (who might be experiencing a minor renaissance since he was used in “The Comedy” in 2013), Chicago post-rockers Tortoise, and Montreal-based saxophonist and multireedist Colin Stetson—a touring member of Arcade Fire, Bell Orchestre, and Bon Iver (he also wrote the underrated score for “Blue Caprice” along with Sarah Neufeld from Arcade Fire). “The Rover” is not the most inviting or forgiving movie, but that’s the point (and of course a chipper Keri Hilson song briefly breaks the mood in a moment that’s both comical and yet heartbreaking). It’s a bleak, nihilistic look at the strange and unlikely partnership between a deceptively complex simpleton (Robert Pattinson) and callous, nearly inhuman man (Guy Pearce) who will stop at nothing to retrieve all that he has lost. And Michôd’s soundtrack is equally cruel, heartless, and unrelenting—in the best way.”