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…of my other stuff, but I would say even though “dread” has this big panic thing, a lot of the chords actually move in this way. There’s also one piece of music towards the end where Charli has a monologue and it shifts around but it never wholly sits on one emotion. So that was a very conscious influence.
Charli XCX in “The Moment.”
Besides bits of “Brat” songs here and there, the only needle drop in “The Moment” is The Verve’s “Bitter Sweet symphony.” How did that come to be and how did it work with your score?
it was in the script and it was pretty much like, “We’re going to blow all the budget on one big sync.” It felt very on brand, like “OK, there’s going to be only one needle drop and it’s going to be really good and really important.” And it stops the score itself from having to do this thing where it’s just working around these big songs all the time. That gave it somewhere to go and kind of crescendo towards. And for that reason I have no strings in the score, like “Bitter Sweet” will be the first string you hear. Probably the most intricate bit of the score is where it sort of morphs into “Bitter Sweet,” and that was done really carefully. They managed to find some of the original stems, so I could really finesse and have it come in at just the right moment. I haven’t heard many scores that really do that, where the one big needle drop also kind of morphs and oozes out of the previous score.
Would you score a film again?
what’s funny is my tracks as A. G. Cook were getting longer and longer – from “7G” onwards I have these 10-minute tracks. And then some of those longer ones were already being used in small films here and there, and I’ve done things for fashion soundtracks as well.There’s a part of my music that really is related to that. So I think definitely
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