the final note
If you’ve been following the blog then you’ll know that I’ve had to find a new composer for THE BUTTERFLY TATTOO to rescore the whole one-hour-and-forty-two-minute film in just two weeks. No easy feat especially considering the the old score was provided by renowned musician Ludovico Einaudi. (Read the previous blog for the whole story).
Richard Bodgers of Theme Music was up for the challenge. I’ve worked with him previously on commercials (most recently for the AMERICAN BEAUTY spoof for Teleflorist - see it on the showreel) and he’s just completed the score for the horror film SPLINTERED which, in my opinion, was a waste of his talent. He has done such a brilliant job and has taken the film to another level in such a short space of time.
I honestly thought, before Richard was onboard, that I would never be happy with another score. Yes, the old score was fantastic and it was beautifully recorded in some very expensive studios but I was only ever really happy with 90% of it as it was mainly pre-recorded music. It wasn’t custom made to fit the story or the characters. I couldn’t introduce specific character motifs, re-arrange and repeat them throughout the film or even simply make notes hit specific frames. It was a bit of a compromise.
Now, the main characters - Jenny, Chris, Barry and Carson - have their own themes. They play beautifully by themselves but, when they are played together, they form the main theme of the film. Clever stuff, eh?
…and all in two weeks! Okay, Richard is almost a broken man from working all hours and his family have probably forgotten what he looks like. (Sorry Ju,Jo,C,H and Lobster - you can have him back soon!) If there are any directors/producers out there looking for a composer then hire this guy - but he might hang up the phone if he’s ever given two weeks again!
I’ve always loved the process of adding music to film. It just seems to complete everything in such an important way. The same scene with two different pieces of music will feel totally different. It’s been great to have a chat with a composer about a scene or a feeling/emotion and then just listen as he jumps on the piano and instantly comes up with something. The whole process has been very organic and rewarding.
I’m in the second to last day/evening/night/morning (what time is it? I’ve lost it…) of the compositional stage before going back into the main sound mix at Candy Studios to complete the film. Again. Now at the end, I’ve just ceremoniously played the final piano note of the score. No one - except readers of this blog and myself - will ever know that I played it but it’s a nice personal little memory I’ll always think of when I watch the film.
I wish I could just upload some pieces for you to hear because I truly am excited to show this new version to people but… I won’t. Our American friends will just have to run on down to “theaters” on April 17th while the rest of the World may have to wait just that little bit longer (I’m working on it, I promise!).
Thanks Bodge for saving the film!
