Well, we’re now in the latter stages of post-production and I’m pleased to say that The Watcher Self is nearly complete.
I’ll talk a bit more about what’s been going on — and what is currently happening — in a future post or two sometime soon, but I wanted to talk to you about music.
When I originally conceived the film — it seems such a long time ago! — I never intended it to have a score. It was a much more ‘gritty’ down-to-earth story which evolved as time went on. A new identity began to form and it soon became apparent that it was the kind of film that needed a very unique kind of sound. I didn’t want it to sound too ‘conventional’. Musical, yes — to an extent — but something complemented by a unique sound palette.
Enter Paul Sumpter at The Futz Butler. Paul contacted me in response to my callout for a composer. I was instantly attracted to his approach to creating music primarily through ‘found sound’. I am a big fan of the BBC Radiophonic Workshop — some of the greatest pioneers of electronic music and musique concrète — and I think my intentions for the score are an extension of that.
We had a good old chat in Caffè Nero in St. Martin’s Lane about what I was looking for, how Paul intended to approach it, and how much music might be required. Ultimately, the score turned into a much larger beast than we had originally thought, but the time and effort Paul has put into creating it has resulted in something that I personally think is outstanding. You can hear a suite of highlights from the original soundtrack, specially created by Paul for our Soundcloud page:
I’ll now hand over to Paul and let him pick up the story of how the unique score for The Watcher Self was put together...
The Watcher Self: Delivering Our Latest Feature Film Score