Each day, I feel strangely happier knowing that NUNE is becoming less and less of “my” project and more and more of other people’s project. I am realizing something about collaboration that I’ve never experienced before: which is that I no longer see it as people helping me on something—but that the project is helping others—and it belongs to others in one way or another—as they contribute to it. Everyone takes pride in some aspect of it and the end result will demonstrate everyone’s talent. That is my hope. Therefore it is impossible to say the film is mine. I would like it to belong to the world.

I met with Edoardo, the composer for NUNE, tonight. I had fun going through all the tracks with him. I love music and I love musicians.

Sometimes I can get so dark about the creative process—like everything feels so heavy sometimes. When in that state, I’m blind to this incredible place of creativity and life that floods through, because I’m slightly depressed when I’m doing something big. I’m blind to the magic.

When I entered E’s neighborhood, it brought me back to Brooklyn, NY. All the buildings were so old—that I felt like was at home in the East Coast; those old Brooklyn tenement buildings with grand lobbies and broad hallways crusty and painted with 10 layers of the most banal of what seems like sidewalk paint.

His building was so cool: it was so old that the entire stairs and hallways had mahogany hardwood floors. Like REAL wood. I couldn’t believe it.

When I entered the room, I felt an immediate calm—and I think it’s because he had been creating music all day—and in particular, music for NUNE. It was as if the air strung like stars the energy and molecules of the music notes he had been figuring out.

It was so much fun going through the songs with him and describing all the melody and sound FX in words that there’s no language for. So I ended up having to sing sound FX and notes that stood out that I have no lingo for. It was like being either a caveman or a baby learning how to talk.

As we worked on the music together, all of Monday fell away. Yes, the awful Monday. It’s the heaviest day of the week and I found myself running with the masses—which I try to avoid. I had so many things going at once that the day flew by without a moment’s rest.

Finally, I sighed and said to Edoardo, “You know, I have to tell you. Sometimes when I feel really stressed out, I sit down and listen to the music you wrote and it calms me down—it gives me peace. Suddenly, everything is OK. I just listen to the music and nothing else matters.”

Music soothes my nervous system. The ones Edoardo wrote for NUNE does. This music is special to me because it was written for the soul of the movie.

Lately, when I just can’t look at all the responsibilities I have, I just click the play button on one of the NUNE tracks and I just sit there and dream and play it over and over again. And suddenly, everything feels better.

We Shall,


Ji Strangeway is a filmmaker, writer, and poet specializing in female-centric LGBTQ. She is also a fierce blogger aiming for a new level of indigoness and bad assery. Find out more: www.jistrangeway.com | Follow FB: jistrangeway.official  #jistrangeway

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Ji Strangeway

Ji Strangeway

Executant of the Ineffable

The Three Gates of Speech stipulates that you ask these questions before putting your foot in your mouth: Is it True? Is it Necessary? Is it Kind? Since this doesn't fit the purpose for every occassion, the criteria for my path is: Is it True? Is it Necessary? Is it Indigo?

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