Sound treated as a first draft of the picture, not a layer on top.
Overview
Original scoring, sound design, and artist collaboration. Bringing the audio in early changes what gets shot, and the work is usually leaner for it.
Challenge
Score had always arrived last, after the cut was locked, which meant it could only decorate decisions rather than inform them. Temp tracks were doing the emotional work and nothing original could displace them.
Our Approach
A rough score existed before the shoot. Editors cutting to real music make different and better choices than editors cutting to silence, and sound design was treated as subtraction — what a scene removes is what gives the next one somewhere to arrive.
Outcome
One score, delivered in stems, carrying a ninety-second cut and a six-second one without being re-recorded. The film came in shorter than planned because the music was already doing the work the extra footage was there to cover.
- Naomi Blake
- (Composition)
- Felix Hart
- (Sound Design)
- Iris Coleman
- (Mix)
“Having music on day one changed what we shot. We cut forty seconds we no longer needed.”
Theo Lindqvist,Executive Producer
