Sovereignty. 2008. Directed by Jonathan Sayle (Laurel films), & starring award-winning actress Heather Dilly      
                       
                                       
      Synopsis: Louise lives in a quaint suburban neighborhood. She tends her garden and socializes with her neighbor, Rose. Everything seems just perfect, on the surface, until a strange family moves in next door. Louise's picture perfect reality begins to crumble even further when she starts to notice an ever growing number of postcards flooding her mailbox from people she's never met.        
                                       
   

My approach to scoring this film: This film was set and shot in the style of a sitcom from the 50's, but it also dealt with very dark subject matter of a socio-political nature that we might find current in today's headlines. In conceptualizing music for this film, I came up with the idea "what would the music sound like if Alfred Hitchcock made situation comedies in the 50's instead of the dark suspenseful pictures that he's best know for?" So, I wrote theme music for this "fo sitcom" complete with transitions that you might hear when it went to commercial break, but always with a somewhat darker tinge. As the movie progressed, the dark subject matter of the film would become more apparent. To coincide with this, I gradually transitioned the music from the happy-go-lucky sounds of a 50's sitcom to what you might hear in an Alfred Hitchcock-type film.

Furthermore, to make it sound like a period piece or a piece from 50's television, I condensed the music down to just two tracks instead of panning different instruments all over the place. This is largely an orchestral-sounding piece and in normal cirumstances I would have placed the instruments accordingly as if you were listening to an orchestra. Example, the violins might typically come out of the speaker to your left, just slightly off center, while the basses and cellos might typically be heard coming from the far right. There wasn't much in the way of surround sound in the 50's, so this music is condensced to sound thinner and it all comes straight at you from the center.

         
                                       
    click on the links below to view two scenes with music from this film          
                                       
   

Blossoms everywhere

This scene is in the earlier part of the film when all appears right in the neighborhood. Louise absently tends her garden and the mailman delivers the mail. I played this simply as a transition piece that you might find in a 50"s sitcom, using the theme that I had come up with. It isn't until we see Louise's flooded mailbox that we get subtle hints from the footage and the music that something may be a little strange in our perfect suburb.

         

Is that chocolate?

Louise encounters the new boy from next door. By the looks of him and his behavior, she determines that "something is not right." Dutifully, she marches toward the boy’s house in an attempt to get to the bottom of the mystery. However, she turns back. Perhaps she doesn't want to disrupt her perfect life with such drama. This is when the music takes a darker turn. The direction that I received for the director was that he wanted it to "sound as if the music was starting to sour."

       
click on the link below to view click on the link below to view
  Blossoms everywhere           Is that chocolate?