Chad and I first met at the age of 17. As so many do at the age, we bonded over our favorite songs, records and films. We couldn’t have been more different, and continue to be, but something was seeded then that now allows us to often collaborate without a lot of explaining. He simply told me he wanted this film to transcend period and genre, and instead play as a genuine portrayal of flawed people doing their best, and often failing with comical results. Instantly we flashed to the romantic comedies and dramas of the 80s and 90s, filled with incredible actors who weren’t perfect, who often did the wrong thing and constantly challenged us to like them. Characters a lot like all of us. I was inspired by the romantic sweeping scores of 1960s Italy featuring Monica Vitti. They were steeped in sex and wit and had undeniable melodies that took a crowbar to your heart. As I sat at the piano the score had been waiting for me. On my simple upright, which you hear in actual iPhone Voice Memos on tracks such as “The End”, “The Threesome” and “A New Reality”, there was this aching melody that spoke to the childishness of young love, 20s lust and then the rude awakening and realizations of adulthood, always arriving quicker than we expect it. This intimacy also somehow also connected with the raw and drifting sound of Manchester New Wave in our dancing scenes or the unravelling percussive spirals of our action scenes. I am deeply proud of this film in that I think it spans eras and will only be appreciated more with time. Chad’s cinematic voice, in my opinion, is a rare one of belief in the human heart and its ability to transcend and connect people, either in folly, in sacrifice or in trust. I hope this score does something to join in that spirit.