Yesterday we were over at a studio listening to various elements of the music mix. It’s pretty stirring stuff, and has come together beautifully. Our brief to Neville Copland, the composer, was that we wanted the music to be sparse, spare, original, memorable – and to contain elements of haunting beauty with indigenous roots. He’s delivered in spades. It still has the power to movie jaundiced old hands like us. In addition to all of that, original songs have been commissioned, written and recorded – each of them bringing something unique and magical.

Earlier in the day we’d been at the post production house reviewing title design, once again working with creative people who are bringing their talents to enhance every small element of the film. We’re very pleased with the way things are going.

A strange thing happened to me while watching the opening scenes. Bear in mind that we’ve seen it so many times now that we could recite the scenes backwards, and have become somewhat immune to the emotional power of it. But as I was viewing with my critical eye,  suddenly I was transported. I could smell the grass on the early morning when we shot that scene, and hear the neighbourhood dogs barking. Suddenly there was a connection between a reality I knew and the images on the screen. It was a weirdly powerful moment.

I guess that’s what we all hope for in cinema – that there might be some connection between the story being played out, and the deeper story of our own lives. An alchemy which can bring two elements together to make a third. We live in hope. It’s been a busy week with the announcement of our premiere, and all the arrangements that need to be made. That will be the real test.

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