Mark asked me to compose and produce an original soundtrack early on in the process of the film, so we got to discuss the intricacies of the soundtrack and it's relationship with the visuals in depth. The soundtrack itself took three days to create, from the first recording to sending off the final masters to Mark.
"I approached Josh due to my interests in the ondes Martenot, after seeing the unique ways in which it can be played, thanks to the work that Josh has been doing to make his instrument and its vast capabilities more widely known." - Oliver H.
There were times during Christine's improvisation with the ondes Martenot in which I felt a very deep connection with her, and her musical decisions, wether they were conscious or not. Parts of the evening felt very transcendental to me.
A handful of people talked to me afterwards; they all said many lovely things, not just comments about the unusual instrument, but also about how they felt a genuine response to it all. People were very enthusiastic about it. To have shared the sound of the ondes Martenot with nearly 200 people in a small village in the north of England was a profound honour.
I met Naoyuki in Nottingham, and we drove to his friend's house. I walked into the kitchen to see new parts ready to be fitted to my instrument, and lots of tools to fit them with. I chipped in where I could, and eagerly observed Naoyuki working on the instrument he built.
On the afternoon of March 4th, I received an email from Ed, a journalist. He was beginning to write an article for The Economist to coincide with the April premier of Thomas Adès' opera, 'The Exterminating Angel' based on Luis Bunuel's film of the same name.