Music is sometimes important in movies. It’s certainly important in Goodfellas and The Spaghetti Westerns, not so important in The China Syndrome or The Birds. I prefer to get a composer involved from the start, and ultimately would like to just give him the script and he composes the whole soundtrack without ever seeing the movie itself, as they did in Brokeback Mountain and Inception. That means that the aim is for the soundtrack to live on it’s own and not follow the feel or arch of individual scenes, therefore I could drop any of the music anywhere I want into my film. So far I’ve not worked with a composer this way, all three of my movies have been scored by composers having a rough edit close to the final stages of the film although the last soundtrack of a movie I made was a collaboration between a heavy metal band (Minus) and the composer, which did yield interesting results. This time I’m very much thinking of going the other way and have a composer involved from the start and preferably only composing with the script of Red Flag in mind. Therefore I’ve started to research music and references myself, because I’ve yet to decide on a composer. I’ve used two of the best Iceland has to offer in my previous films but there’s young composers both in Iceland and here in China doing good stuff also, I might go for the younger generation this time, not because they’ll write up some youngish sounding techno babble but just purely because you can get them to do a lot of stuff much cheaper 🙂 I am thinking of perhaps basing the whole soundtrack on traditional classic music, old Chinese classics that slowly turn into old Icelandic classics towards the end of the movie. So, been listening to a lot of light hearted romantic Chinese tunes with images of princesses and swans floating around and on the other hand heavy dark and bleak Icelandic music from similar periods, usually the image is starvation, volcanoes and bad weather. There’s certainly a contrast in style between the two nations.