“Such a mood is also reflected in the aural landscape of Nordic Noir. Rather than swamping the soundscape with bursts of orchestral extravagance, the score also tends to be understated, offering an eerie and unsettling ‘pulse’ that gently punctuates the action. There are moments when it clearly builds in momentum, but it generally tends to create a mood of eerie melancholy” (Creeber, 2015)

Due to a last minute cancellation, we needed a score within a very limited time period. I put an advert explaining the film on the Facebook Composers page. It must have struck a chord, (pun intended) as I was deluged by replies, from as far afield as Slovenia and New Jersey. 18 so far, they are still coming.

The chosen candidate a Master graduate  in film composition from Edinburgh University now living in London was a joy to work with. Through phone calls and emails we quickly gained a rapport, I sent  him Creeber’s quote as inspiration and I truly think his music has added an extra dimension to the film. He is also willing to work with us further as we fine tune the production.

There was some serious issues with the sound in three scenes, attempting to fix them in post severely affecting our ability to concentrate on sound design and on reflection sound design should have been incorporated into the schedule.

Creeber, G. (2015). Killing us softly: Investigating the aesthetics, philosophy and influence of Nordic Noir television. The Journal of Popular Television, 3(1), pp.21-35.


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