Composers Rosaline Drum & Lace and Ian Hultquist on how the point evolved [Exclusive Interview]

You both imagined the early 2000s sound for “Rosaline”. How does the score grow as you work on it?

Hultquist: Well, I think the first thing we started writing was probably the much louder orchestral sound. So there was a lot of variation, going from 30 strings to 5 strings and things like that, just to narrow down the actual sound of the movie.

Drum & Lace: I also don’t think we necessarily thought we’d be using period instruments that much. We knew we were going to have to incorporate that into the cover songs because it was a moment on camera. The movie doesn’t show the band performing live as much as I thought they intended, but it looks like the band is playing it in the room. So that’s our period stuff.

The rest of the score we say, “Oh, that’s going to be more of a synth-y,” but it actually becomes a third Renaissance Instrument, a third string, and maybe a synth. third and electronic equipment. I think that surprised me at least – it’s a much more traditional score than I thought we’d be.

You also don’t hear too much of the obvious synthesis work.

Drum & Lace: It’s pretty subtle. It’s more for texture and support, just because many of the instruments of this period don’t have a lot of sustain, so they’re out of luck. It’s the same thing with vocals. Vocals and synths are this texture overlay around the track. Like the crochet scene in “Rosaline”, there’s no synthesis in it, because it doesn’t match the quality of the wood fibers. It is not mesh with the same distribution and more breathability.

Specifically about the music in the movies that you’ve listed as references, such as “10 Things I Hate About You”, would you like to pay tribute?

Drum & Lace: I think the way the songs are used as a score. So the perceptiveness of something can keep the momentum going, and that can make things contemporary, invigorating, and well-paced. I think the inspiration was like, “How can we make the cover songs in our track and everything feel seamless?” Because a lot of the late 90s, early 2000s movies didn’t have that many scores. Those are all needle drops. I think it captures that youthfulness.

Hultquist: I think it’s having that energy, the excitement, just that everything feels new and fresh in a way.

Drum & Lace: And it’s also very disturbing to realize that this movie is full of jokes and full of jokes about facts. It doesn’t take itself too seriously. I think musically, too, which helped us to be like, “Oh, this isn’t a funny comedy, but it’s not a serious movie either. It’s somewhere out there. Between.” I think the movies that have been referenced, like “She’s All That,” “10 Things I Hate About You,” are huge references.

If it gets too ironic, the score easily makes the movie a parody.

Hultquist: Yes. We do that a little bit at the beginning of the movie. We come in with a deep romantic hint and then Rosaline cuts it off like, “Why do you say that?” We have a few moments where we play with that, but not too much.

Drum & Lace: And the character of Romeo and also a bit of the story of Romeo and Juliet is where we can drop into a sense of fascination, just because of the way they both play it. While for Rosaline, she has to be this needy character, and also musically. Composers Rosaline Drum & Lace and Ian Hultquist on how the point evolved [Exclusive Interview]

Fry Electronics Team

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