composers adam oak Y Shawn Sutta They have merged their two passions with music and cinema. Since her theatrical debut in the 2012 documentary our longest tripthe two scored several projects in documentaries and films, including Uncle Juan (2015), before the fire (2020), East Midwest (2021), and grasshopper (2021). They both spoke to Bleeding Cool about their movie. Difficult questionwhich centers on a woman, Lennon (sylvie mix), who feeds his desire to participate in a podcast with live music and conversations with the artists he admires so much; Lennon finds inspiration for his own musical ambitions…and a growing sense of misdirected identity.
Bleeding Cool: What intrigued you in Poser?
oak: We found out about ‘Poser’ when we researched Gotham and Oscilloscope Labs. I read about what they were working on and saw that they had done a lot of music videos and band profiles, and I thought doing an article on it would be great. I reached out to them to see if we could be a part of it.
What were your influences growing up?
oak: It was a pretty wide range of genres. I remember from early childhood I was always interested in film music and how it connected to stories. When I was little, I was obsessed with ‘Jurassic Park’ and reenacted the scenes while going online and listening to the sheet music. Music was my muse when it came to recreating the scenes. My brother and I would do it for fun. Film music has always been a big part of Shawn and me. It has been a journey where everything from heavy metal to classical music has influenced me personally.
Sutta: Adam and I have different upbringings and influences. I started piano lessons when I was seven years old and got into Mozart, Chopin, Debussy, Bach and his classical piano works. Some of that is evident in the score for ‘Poser’ as an influence from the very beginning, along with all the greats of film and storytelling. Many of the piano-based scores have always been strong influences of mine.
When directors Noah Dixon and Ori Segev talked to you about the film, how did you break down that collaborative process?
Sutta: It was a close collaboration the entire time with Noah and Ori, who are two of our favorite people to work with. They were really involved in every detail of the score and the cue. There were many conversations and everything flowed naturally. They came to us with the film already prepared. They had some temporary music and some ideas of where to go, but they were also open to hearing our thoughts on things and how to deviate from their original idea and challenged us to do something totally different than what they had in mind.
oak: Between Shawn and myself, the collaboration flowed quite well. Many of the pieces would begin with the piano. Shawn would record the piano part and send it to my room. I start orchestrating it. We would add vocals on top of that, which took on a whole new life.
What was the trial and error process to decide what ended up in the movie?
Oak: To be honest, most of the signs were a pass. There were some that we had to go through different passes and try different ideas and directions. The vast majority of them felt good from the start. The second sign, which is episode one, we had a few different versions of that. We were very happy when it arrived. Overall, it was pretty smooth, and if there were any revisions, it was always made better, and we were happy to do so.
Was there any part of the score that took considerable time, or was it constant throughout?
Sutta: Most things went smoothly, and our first idea ended up being the one that would stick after some tweaking. Adam was talking before an early opening sign that the image changed several times. The themes we introduced weren’t working as the story took a bit of shape while we were still working on it. We don’t like to use the word “challenge” because it will feel challenging. It felt amazing and smooth and fun, but that one needed more work.
Were there any genres that you hope to tackle in the future that you hope to explore in the future?
Sutta: We love great creative movies. As for the specific genre, we love many different ones. It can be anything from a really interesting horror movie to a captivating drama.
oak: One of the things I loved about this movie was that it had a hybrid of classical or baroque style mixed with modern textural music. Hybrids are really interesting. Regardless of what the story requires, blending worlds within music, that’s something I’m interested in and hopefully will continue to do.
Since you started, what were the most important and invaluable lessons that made you work so well together and create this ebb and flow?
Sutta: I like the question. Adam and I collaborated, playing in a band before working on film music. There was a spark of magic for me when Adam started playing music and I processed his ideas. The energy that he brought to that group made me feel a certain way. I fed my hunger to collaborate with people to make something that isn’t necessarily just for me. That translated when we started working on movies together. We have each other more excited because we are both working towards it and challenging each other to do better.
oak: The feeling is mutual [laughs]. It’s just about our enthusiasm for the movie. We got excited and went from there. That is what you really need to trust each other and an understanding. We’re very different people, and it works well in a way because we have a larger net that we can cast as it resonates with each of us. It works and it’s a good thing.
The film, which also stars bobbi kitty Y Aujolie Baker, is available in digital format. You can check the score here.