Kristin Ã˜hrn Dyrud
Second Part in a Series. Read Part 1.
Danny was very clear early in the process that he felt it was important to make this a silent score. We kept removing elements and stripping down the cues until only what was needed remained. There are cues in this movie that have 15 seconds of rests in them. There is something very uneasy with music not coming in when you expect it to. We also had extreme dynamic ranges so that when the loud and scary moments happen in the film they seem even more powerful because of the contrasts to all the silence. Danny talked about having the music reflect the terrifying loneliness the characters are faced with. Scott Uhlfelder’s cinematography especially in the landscape scenes already reflects this and I tried to underline this by playing with open intervals, long rests, sliding strings and so on.
All the preparations that I did on beforehand allowed me to do the actual scoring very quickly. From the time I received the final cut until we had recorded the score, there had only been 4 weeks. But this would have been much harder if I hadn’t had the chance to let the movie and the ideas mature gradually over time. The fact that I had a fantastic team, including violist Hillary Thomas who recorded string effects for demo purposes, copyist Matt Novack, conductor Susie Bench, engineers Alex Levin and Paul Apelgren, and of course the fantastic musicians (Nancy Roth, viola, Armen Ksajikian, cello and Karl Vincent, contrabass) made this not only much smoother, but also possible. I feel so fortunate to have had the opportunity to work with Danny, who is an incredibly talented filmmaker, and his wonderful team. I hope to get a chance to do it again very soon!
Learn more about Kristin by visiting her website: www.kristindyrud.com