On October 6th, Rael Jones began working on the score to Get Well Soon. Up until this point, we’d been using Nick Cave’s bleak score to The Road as temp music, as well as some earlier ambient tracks Rael had prepared.
Rael and I had been members of Thumpermonkey Lives! for a while; what we needed for this short certainly wasn’t like the music we made in the band, but I had an idea of the sort of material he’d produce. Rael had been composing for TV and film, and working as a session musician for quite a while when he started working on Get Well Soon. Ian and I didn’t have to explain much, beyond giving examples of the kind of material we were interested in, and then letting him run with it. As usual I banged on and on like a broken record about Tilt by Scott Walker, (listen on spotify), and we also discussed Brian Eno style pads and drones for a lot of the cues, (along the lines of the first bit of temp music that Rael had made for the mood reel).
The only changes we made to the music Rael produced were the placement of some of the cues, and the addition of some new material to help anchor what was happening on-screen. BRAG’s opinion of one of the final cuts of the film had been that the pace was still a bit too slow. To counter this, (and reduce the running length), Ian had re cut the footage to create ‘flashback’ sequences. This was so that the story could be told more quickly, without the speed of the edit seeming contrived.
It isn’t totally clear straight away that one scene being viewed is actually a flashback, so we tried associating specific music with the past and the present. Broadly speaking the past is indicated by some sinister bass gurgling. When we cut back to the present, (Theodore being viewed ‘remembering’), there is a delicate little motif which hopefully works subconsciously on the viewer to create an association of being back in the present.
You can hear some of the music that will be featured in Get Well Soon by visiting Rael’s website – (scroll down, under miscellaneous film). You can also read an interview with Rael (by Michael Price), re his experiences of writing for the screen.