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What if the music can be involved from the very beginning, at the conceptual stage of the film? This is an idea the director and myself were interested in exploring. SUB- began when the Director heard an existing piece of music I composed called Wait, an eerie, atmospheric piece that had an immediate synergy with an existing idea she had for a film. From the outset, the concept and the music suggested the possibility of creating something truly exciting, where music and story are conceived together. Scriptwriting At script-writing stage, the development of story occurred simultaneously and symbiotically with the music composition, so that the first draft of the script and a piece of music were presented to the film team, providing 2 sources of ideas and inspiration. As a non-dialogue film, this inspired the team to find new and creative ways in their respective craft areas to tell the story. On set As the music for the film was already composed, the music was played back on set to allow the camera movements and actor’s performances to be choreographed and inspired by the music. Because the film was shot at a low frames per second and was to be sped up later, the music on set had to be slowed down by an exact ratio. This allowed more time on set to create dream-like single-shot sequences, and it meant that the music could be re-recorded with a full orchestra well before the editing process was complete. Basil Hogios
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Traditional models of screen music have dictated a process where all aspects of a film are put in place, and the last step in the process is adding the music, to heighten what is already there. Music can dramatically alter the audience's perception of a film, but music can also inspire and influence all other aspects of the film, from concept to completion.