Friday, 29 December 2017

Going monochrome

Working on The Third Wife is an ongoing advendure. Now that the colour version is completed and finalised, now that we are waiting to see at which festival it is going to premiere, not thinking too much, not hoping for too much, yet wildly daydreaming, we are working on the B&W AND silent version.
Just a few weeks ago, Ash showed the first B&W draft she did with Yov - the film still had dialogues. I told her that if the music worked wonderfully with colours, I felt something was strongly missing.
"Oh don't worry, it's going to be a matter of reworking the mixing, just some readjustments... I wasn't convinced.
A few days later, she announced to me that she had decided to make it a silent film as well. 
I was... speechless.

Now I have to rethink the whole musical score. It struck how the monochrome reworking spoke a totally different visual language, even if it was the same film. We can no longer 'escape' in the lushness of the setting, we are compelled to face and embrace harshness of the human drama which becomes timeless. I was reminded of the films by Kurosawa or Mizoguchi.  

Some ideas already. I have started to record some of them with my friend and muse Isabelle Thomas who will be singing the soprano part. 

January and February will be totally devoted to that new music.

No comments:

Post a Comment