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A NOTE FROM THE COMPOSER | ||||||||||||||||||
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First of all I'd say that one of the things that immediately appealed to me as a viewer was that you are sort of brought into this process and you are watching the filmmakers as they discover an existential problem. It makes you feel really close as a viewer. It has never happened to me in a movie before. That's one of the things I thought was amazing about it. I don't really know much about the climbing at all. I think I'd learnt most by listening to Alex on Joe Rogan. That's always a question whether you are scoring and when you don't. We talked about it. They had an amazing editor as well Bob Eisenhardt. I came out to New York and we went through the movie together and talked about what music should be doing here and where it should be playing. We maybe spent a day together talking about these things. Music is abstract, so we need sort of a common ground, some sort of a language. There were like two thematic things: there's the mountain itself and it needed some sort of a musical statement, something simple and humbling. And then also the emotional journey of Alex. As Tim was saying the whole thing is like a metaphor for life. And there's the climbing, there is the dark element of "I can die, it's really dangerous," but at the same time it is almost like a ying/yang thing. Because it also supplies Alex's life and gives him freedom and expression and all that. Coming to terms with that I think it was a similar path with the emotional journey that you see from his relationship. It's like having two chords that alternate - one being a dark minor chord that's sort of low and then one like a layer major chord at the heart. And developing from that as this emotional journey takes off. That's sort of thematically what the music is. | ||||||||||||||||||
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N O D E R E C O R D S (BFD 154) | ||||||||||||||||||
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