General Underscore Pitch Ideas
Thank you for considering me as composer for SUKA. I see the film as a dark, thriller with strong action/fight scenes. It also has elements of conflicts between following your heart versus overiding familial obligations which are hard to break out of especially for the Asian-Australian.
Score wise, I envisage fusion of contemporary electronica meets orchestral underscoring along with source tracks from hip hop and rock world of artists. This mixture of genres, if used judiciously can give the film a contemporary edge but we need to be mindful of not having too many different genres.
Below are some tracks from my catalogue to give you a feel for my initial thoughts in terms of the orchestral/electronica underscoring.
Mystery Thriller / Crime
The dark, mostly night time shooting coupled with the broodiness of particularly Bo lends itself to this sort of tone I have written in the past. There is a sense of loneliness yet tension in this track which I think the film score needs.
Action is obviously a big part of the film especially the fight scenes. I envisage slightly electronic score with orchestral elements. The electronic elements I think will assist in keeping within the contemporary sphere especially if you want to have many source tracks.
You will hear many different shifts within this track (as this was written to a film). Closely following the different action especially in the end when they are escaping from the Yang house with all the different POVs is vital. A score that underpins each different action and emotional shift is vital in that sort of sequence.
These tracks in particular I think could suit Wasiya in younger self having to give birth on her own. In attempting to not overstate the action, I think this style of abstract music is more suited to the powerful moment of this scene. Similarly for when Fandi shoots the older lady
Thank you so much for giving me the opportunity to watch the rough cut. These samples I have shown here is only a some of the emotive tones of the film. There are of course more light hearted moments such as when Hui and Bo meet and the play fighting between Hui and Jay.
Ultimately the key is finding congruity between all these emotive tones to ensure we are in the same world.
In regards to having the "Tarantino" edge of a score (use of tremelo guitar in that "western" style), I can see the style of this coming through in the design, edit and performances in the first approx quarter of the film (at the time shift), but am yet to formulate how this then continues throughout the film. It may be that a very source track heavy film is required which would involve a music supervisor. Happy to keep talking about this!
Thanks again for the opportunity!