Composer Emilie Levienaise-Farrouch joins the show! Emilie’s latest score is for the film All of Us Strangers, a sort of romance-fantasy-supernatural film that I found absolutely moving. As such, we primarily talk about her score for that film, including talking about striking an emotional balance (one that feels organic but not manipulative), avoiding falling into “period” piece clichés, and more. We then meander into other topics, like the use of Michel Legrand’s score from The Go-Between in May December and the freedom that horror gives composers.
It took a month or two to set in, but All of Us Strangers has ended up as one of my favorite scores of the year (the rest to be unveiled soon). When I listened to it a couple of weeks after seeing the film, I was struck by the most powerful wave of melancholy. It actually made me tear up for a few minutes, the most emotionally impacted I’ve been by a score since the last time I listened to Eiko Ishibashi’s score for Drive My Car.
You can find out more about Emilie on her website. All of Us Strangers is currently in theaters, and Emilie’s score is available on all major platforms with a curated vinyl release forthcoming. You may have seen me talk about how much I love when a score release is curated, so it shouldn’t be a surprise to say I’m looking forward to that!
Have a listen to our conversation below or wherever you get your podcasts (including Spotify and Apple Podcasts). Enjoying these interviews? Show the love by subscribing and leaving a rating or review!
About All of Us Strangers
“One night in his near-empty tower block in contemporary London, Adam (Andrew Scott) has a chance encounter with a mysterious neighbor Harry (Paul Mescal), which punctures the rhythm of his everyday life. As a relationship develops between them, Adam is preoccupied with memories of the past and finds himself drawn back to the suburban town where he grew up, and the childhood home where his parents (Claire Foy and Jamie Bell), appear to be living, just as they were on the day they died, 30 years before.” from Searchlight Pictures