I’ve been cutting the official NUNE trailer. It’s been a bit of a process—cos I had to get the color finalized first from Ron. There were some bumps and file corruption which took up a good day, but it’s all good. Ron is a genius, I love him.
Edoardo Talenti is my music composer. He’s a percussionist, and classically trained…Italian. He does ghostwriting as a composer and I was into that, because it means everyone else who’s doing so-called professional work is taking credit. That’s how ghostwriting goes! I have and idea of the scale of work he does but I’m not allowed to mention names;) I’m thrilled that he took on NUNE and that it will hopefully help him do more composing work that he can get top billing for.
He and I have been working very hard. Of the seven tracks he demoed for me there was one in particular that I really liked for the trailer.
My goal with the trailer is to make people fall in love and when I listen to E’s music, I fall in love. So the score really helps.
Originally he came up with a very edgy Nune “theme song” which we thought would be the highlight of the movie: it’s experimental rock, gritty, electric guitar and moody dark synth.
It turned out that the only track I “turned down” was the theme song. That’s the irony. I didn’t turn it down. I love it but have no place to put it. As a song, it’s actually the BEST track. When I put it up against the movie—it was too aggressive for the scenes. Although I like the aggressive sound—it dominates the picture too much. It matched and everything—but I decided to go for contrast. Because Nune, the character is so “dark”—I wanted people to fall in love with her. I wanted her love interest, “Briana Enright” to fall in love with her. So I put a twist on it and attached very light music against a dark person…and it worked, in my humble opinion:)
I really should give the tracks a name. Right now I like “Nu03.” Doesn’t sound very amazing does it? It’s the file name. I may be a poet, but I’m terrible with naming titles for music. Maybe it’ll come to me—in my sleep.
I texted Jessica the other day to confirm some meetings we have to arrange for her and Brianna. It’s a long story. The short end of it is that we’re fixing some technical fuckups, which we’re all very upset about. But in the end, I know—and I think we all can agree—that re-doing some of it will help the film.
I told Jessica that the trailer is so beautiful that it would make angels cry. She sent a screaming text with a barrage of angel emoticons in return.
I’ve been watching the trailer and I have to say, E’s music gave it something special. I think the first day, after I threw NU03 onto the video, I was walking in a state of bliss for a day. The music made me happy all day.
And now, when I look at the cut, I fall in love with both characters: not just Nune but also Briana. The way the story is told in the trailer makes you see Nune through Briana’s eyes; which was an angle I felt would make you fall in love with both of them. It is very hard to have a pretty girl who’s a cheerleader be empathetic to the viewer; because most people right off the bat will assume she’s shallow.
I had written the Briana Enright character to be a “deep cheerleader,” and I think that aspect came across. Anyway, there’s no point talking about something that I can’t show right now. I’m sending it off to my mixer, Roger, to do some audio sweetening and making the thing blow everyone’s mind.
I do know that when I watch the trailer, my heart just opens. Although I know the film intimately from the inside out, I also try to look at it as a viewer. From the audience’s eyes, I become curious about these characters and easily love them—just because NU03 tells me to love them. The song is like a snake-charmer—pulling the audience out of one world—and into the world of NUNE’s.
The power of music is amazing.