Time
About the Themes and Development
directed by Carl Ball
Time was an Official Selection for Idyllwild Film Festival and a Top 10 finalist on DraftHouse Film's "ABC's of Death" contest. It's a bold story for a short film -- gave me a lot of room for thematic and instrumental creativity. At 0:36 you'll notice light percussion suggesting a ticking clock, this motif runs through the soundtrack much like Theme A, the melodic representation of the ticking.
The main theme (A) is a descending melody that serves as a bedding for the film. It's in the background for the first half of the film and it slowly becomes more and more pronounced until it's interrupted, at 1:46, by -- my favorite -- quartal harmony (chords in fourths instead of thirds). This break sets up an effective return of the main theme A for the first underwater shot at 2:21. As the narrative intensifies both Theme A and the ticking double in time.
Theme A is in 3/4 time signature, while there are four descending notes, suggestive of 4/4. In the first part of the film the 3/4 isn't noticeable. However, the interesting rhythmic arrangement becomes more effective when theme B, strictly in 3/4, comes in over top of theme A.
Theme A is in 3/4 time signature, while there are four descending notes, suggestive of 4/4. In the first part of the film the 3/4 isn't noticeable. However, the interesting rhythmic arrangement becomes more effective when theme B, strictly in 3/4, comes in over top of theme A.
Theme B serves as an expressive counterpoint for Theme A. It first comes in after the cave's collapse at 3:01. The narrative here allows for more expression with the melody and I gladly took that opportunity for creating a more interesting, layered build to the finale.
At 3:25 there's a suggestion of the organ, it's not immediately noticeable since its main purpose is to serve as an effective coloristic element. For those interested in reading into the instrumental choice, it was my attempt to subtly foreshadow death. Theme B comes back at its strongest at at 03:49 -- my personal favorite part of the score.
At 3:25 there's a suggestion of the organ, it's not immediately noticeable since its main purpose is to serve as an effective coloristic element. For those interested in reading into the instrumental choice, it was my attempt to subtly foreshadow death. Theme B comes back at its strongest at at 03:49 -- my personal favorite part of the score.
The film's narrative and visual style allowed for a lot of leeway in the instrumentaion. My favorite instrument, the celesta, makes an important coloristic contribution throughout. A solo cello pizzicato also adds a nice rhythmic touch. I don't often use synths in my music but there are some cool electronic ambient textures if you really listen for them.