The opportunity for me to work on this film was a pure coincidence and came to me at the perfect time to begin working on a new project. This film marked many of my firsts in composing for film. For example, this is the first film that I worked on that isn’t set in contemporary times, bringing in a question of the expected sound for such film. Should it fit the time period or should it be the opposite, something modern? 

The answer to this question relied in sound design. The compositional elements have been implemented in supporting the narrative of the film. Furthermore, the idea sonically was to use timeless sounds with a modern spin, hence the electronic manipulations. For example, a key motif flowing through the film are the glass noises that rise, drop and twist, therefore, creating tension. While working on this film, I had so much fun playing around with the sounds and physically turning knobs on my MIDI keyboard to create synced automations. On the other hand to create timeless noise, a few field recordings were done. Throughout the score, hidden rain drops slightly appear. Yet more apparent are the whistling noises of wind, which I recorded during my short walks to my closest shop. These sounds felt unifying between the two drastically different time periods I am living in and in which this film exists. 

NOTE: The sound design for this film was done by me and the director together.