My first film score and really what got me hooked. Harold, played by Scoot McNairy (Argo, 12 Years a Slave, Gone Girl) doesn’t talk but we follow him through a life-altering stage of shadowing a person he admires. In his case, Chaz Martini, a character on a daytime soap. As the film develops, Harold finds his inner balance and self-assuredness after a close call with the actor on a speedy drive up Mullholland.
I was interested in creating a memorable but meager beginning in the score to parrot the film’s depiction of Harold’s demeanor and life disposition. An exposed and fragile string duet between a Viola and Cello establishes a very rudimentary, binary, half-step relationship.
Classic symbolism and character archetypes plays a big part in Andy Schwartz’s screenplay and I immediately wanted to create something using contrapuntal techniques. By the end credits, the 2 note motif had grown to a 3 part mensuration cannon
