Yesterday I went to Trinity Films to play Harry and Brady the first two cues that I composed for their film RECAPTURING CUBA which is about Dallas-based and Cuban born artist Rolando Diaz's return to Cuba. I had spent the weekend polishing the first two sequences of the film and wanted them to be in near-perfect condition before I presented them.
The response was great. They like the music a lot. There was one section in the first piece, "Ghosts of Cuba," that they felt needed to change at a certain point and then return to where I had it towards the end. I wasn't particularly surprised. I had intentionally composed the opening of the film pretty much the same from beginning to the end. I was trying to allow the emotion behind the story be the catalytic component for the viewer and they are wanting a duality of both emotion and excitement to open the film.
The second piece, "Streets of Havana." surprised them both. I had played the scene differently than what the temp music had done and it showed them an angle in the character they hadn't noticed before. They really liked how it changed the dynamic of that particular moment. When Ro first returns to his childhood home in Cuba the temp music had only played his excitement. I set up his arrival with an air nervousness and trepidation which he alludes to in the voice-over.
It's always nice to think outside of the box, as I often do, and have the filmmakers respond so favorably.
Since our meeting we've also made a dramatic decision that will affect the progress of the score. I found out yesterday that Harry had contacted local cellist Bion Tsang to see if he would be interested in performing on the score. Bion is a mystifyingly talented cellist who teaches at the University of Texas here in Austin. Harry and I went to one of his recitals several months ago and were blown away by his incredible performance.
To make a long story more medium lengthed, Bion was interested in performing but he was going out of town soon and would not return until mid July. Originally Harry did not want to wait this long and was hoping to get this project wrapped much sooner. But we mulled it over and we concluded that if you're given the keys to a Ferrari it's best you should probably take it for a drive.
So we've scheduled Bion to record on July 19th. In the meantime, I'll prepare all the rhythm, piano, and bass tracks myself and we'll overdub some other instrumentalists before concluding with Bion's overdubs in July.
When I started this project we thought it would be a quick little project but as usual with my collaboration with Harry and Trinity Films, it's turning into something much grander and far more exquisitely cool than we set out just a few weeks ago.