In December, I scored a short black comedy called Time to Kill. The film is directed by Justin Rettke, produced by Cindy Wong, and features a stellar performance by Christopher T. Wood, who also co-wrote it with Mr. Rettke and Scott D. Frank.
One of my favorite things about scoring comedy is when the music gets to be a part of some of the gags. There are a few of those moments in Time to Kill.
[rave player=TTKMX]
All music (c) and (p) 2014 by Mystery Cabal (ASCAP)
Most of the film involves one person, a hitman named Harris. Since he is the only character for most of the film, I did a few themes to represent different aspects of his personality.
01M01 – The opening cue is used the first time we meet Harris. This guy is a heavy-hitter – a top-dollar contract killer. The cue starts with him in total bad-ass mode, but we discover that this is premature, and the cue fall apart at the end.
01M02 – This is a series of four connecting music cues that play between different scenes. I thought that a small ensemble of trombone, bass, and brushed drums shifted to the lonely reality of Harris’ life.
01M03 – A variation on the 01M01 cue as Harris gets ready for “business,” only to find that, again, his target has not arrived.
01M04 – A very short cue to establish that Harris is doing Yoga.
01M05 – Another short transition cue.
01M06 – A longer Yoga cue that builds with Harris’ frustration.
01M07 – Yet another transition cue.
01M08- Time for “business.”
01M09 – An intense build to climax…
01M10 – The “business” theme has been transformed into a Curtis Mayfield-like disco version for the “into the sunset” moment and the closing credits.
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