Been a pretty busy quarter so far but I really want to start posting these things so, here goes! One of the more recent projects I wanted to share with you guys is the sci-fi thriller short EmVerse, directed by Vlad Korisheiv. EmVerse is the story about a girl who – through a car crash accident, is able to come to terms with the guilt about her aborted baby.
Initially I was a little lost on where I should take the score because with sci-fi you really can get carried away with what freedom this particular genre can give you. So for me the first thing was to understand what the music was trying to convey. Obviously the main character is the best place to start, so scoring it from her perspective was something I had to adress. But, I really wanted to give the world of EmVerse a distinct sound. Vlad had jokingly said that he wanted 1920’s big band music – which initially i didn’t take seriously. But I came across a particular cue a movie from the 80’s (don’t know the name. spend a ton of time using music identifier software and i got nothing…), and while it’s definitely not from the 1920’s I released that I wanted the score to have the sci-fi vibe and yet still have hints of a romantic/noir score.
To do this I used a traditional orchestration with drone-like elements to produce the bed of the score, while focusing on exotic instruments like the Kora, an african guitar – like instrument and the Duduk, a Turkish wind instrument to help put the viewer in not so familiar territory.
But rather than talk about it, I’d rather show you.
Here’s the trailer:
…and here’s the music!
Looking back, I’ve learned a lot more about conceptualizing, it’s such an important part of keeping continuity not only with each cue, but with the characters and the story as a whole. I also developed new strategies in spotting the movie, which I will be using in the coming weeks for the films coming up this quarter.
Alright, first one down many more to come!