I’ve been diving into early talks about working on the score for a new psychological thriller, and I have to say, it’s a fascinating challenge already. The film is shaping up to be dark, intense, and deeply psychological – right up my street, then.
I can’t say too much about the project at this stage (sshhh!) but it revolves around a troubled young woman who starts uncovering the blurred lines between her inner child and her adult self. As she digs deeper, she discovers things about her subconscious mind that are much darker than she ever expected. It’s a layered and complex narrative, and getting to explore how music might illuminate the layers has been an exciting process already.
Right now, the script is still being fine-tuned, and casting is planned for summer 2025, with filming scheduled for the winter. But even at this early stage, the director has been super clear about one thing: the music needs to be dark. Not just dark – relentless. We’re talking drones, uneasy, unsettling strangeness and an overall sense of tension that reflects an inner chaos… perhaps…?
To start finding the right vibe, I’ve been working on several one-minute “sound worlds” – little musical sketches that help explore what the film’s soundtrack could feel like. It’s an amazing way to experiment and start zeroing in on a sound palette that fits. I’ve also built a bespoke sample library of some new sounds, which has been a lot of fun (if back-breaking work, inside a grand piano!)
We’ve also started discussing some ideas for instrumentation. A solo cello keeps coming to mind for both me and the director – it could be such a flexible and varied starting point, and could have the sort of raw, emotional sound I need that feels right for this story. We’re also talking about including something unusual, like a shakuhachi (a Japanese flute). It’s still early days, but I love the idea of blending these live elements with more experimental textures to create something truly unique.
What’s especially exciting about this project is being involved so early in the process. Getting in at this stage means the music can really become part of the DNA of the film, rather than an afterthought. It’s a collaborative effort, and I can already tell it’s going to be one of those projects where the score feels completely woven in – just the way it should be, but so often time doesn’t permit it to be so.
There’s still so much to figure out, but that’s part of the thrill. I can’t wait to see how everything evolves. Stay tuned. I’ll definitely share more as it all unfolds.