This is going to be another “doing things in a weird order is better than not doing them” moment.
I’ve begun exploring sound elements. Well, really just music-- I can hardly talk about foley before I shoot. I’ve been saving songs that remind me of the tone I’m going for with Matcha, and that turned into a playlist. Before I fell too far in love with any of these concepts, I did poke around YouTube’s free music library to find some wistful soft-pop tracks, matching the sound that came up over and over again when I was doing my genre research (it’s like everyone from 2012-2022 graduated high school to the sound of Grouplove or Bleachers). My “starred” (saved) tracks are shown below-- a pretty even mix of what could work for the car vs. the cafe. I understand that these will be the far likelier contenders for my soundtrack (for copyright reasons), but hey, a girl can dream.
Less realistically… here’s what Matcha sounds like to me.
- “Valentine” by Lala Lala- Audrey and Veda’s first dance together towards the end of a formative night with Veda’s friend group
- “Coffee” by Sylvan Esso- running in the rain together after a kiss
- “Long Way To Go To Die” by LP- Audrey watching Veda leave for Georgia → end credits
- “Mr. Sellack” by The Roches- stupid, sweet, simple montage of innocous moments (breakfast, walking) → decreasingly content, tensions rise, montage ends with both of them upset
- “Both Sides Now” by Judy Collins- end credits (if not “Long Way to Go to Die”)
- “Tea, Milk & Honey” by Oh Pep!- intimacy
- “I Can’t Tell What the Time is Telling Me” by And The Kids- resolution
- “This Will Be Our Year” by Dear Nora- maybe immediately after fight (Audrey crying), maybe end credits, maybe resolution. Kind of the whole film, in my imagination
- “Eulogy for You and Me” by Tanya Davis- the opening credits, in a world where I’m braver
- “Sexy Villian” by Remi Wolf- casual hangout scene early on
- “Chicago - Live” by The Staves- first kiss
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