Supernatural forces are at work. Good vs evil. Set in the gritty inner city, biblical forces are at work.
All men fail…
How did you get involved in Michael?
Paul and Amy from Teambeard Productions got in touch with me and asked if I would like to score some ‘provocative, dark and heroic’ music for this short. I went along to the shoot taking place in Newcastle City centre. I found this so interesting, they were working on a fight scene and it gave me an insight into a side of film production I hadn’t been able to see until that point.
What were your influences?
The Dark Knight really played a big part in what we were after. I started with the final scene, as I knew I wanted to get the climax to where it should be and work back from there. I had been listening to a lot of Vangellis and of course I am a big fan of the Blade Runner (Final Cut) soundtrack, particularly the final cue, with those pulsating synths. That worked its way into the closing sequence in Michael. Finally,
Were there any other cues that stood out for you?
I loved working on the fight scene as we had to maintain a balance between tension and chaos, whilst allowing room for the diegetic action to unfold.
What other compositional processes did you explore?
Because of the biblical references in the narrative we wanted to work in some church-like elements into the score. We loved the ominous sound of the tolling church bell paired with a choir. Using a variety of choral effects in the ‘exorcism’ was great fun to play with. There are so many choir sample libraries out there and a few lend themselves to further programming to get this whacky rise across the full range of the choir.