Damsel is available to watch on Netflix now.
SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Summary Damsel is a fantasy movie that aims to turn classic tropes on their heads. With its very title a play on the “damsel in distress” trope, the movie puts Millie Bobbie Brown’s Princess Elodie front and center and makes her the hero of a twisting narrative that flips the script on evil dragons, glorious kingdoms, and more. The movie was directed by Juan Carlos Fresnadillo and written by Dan Mazeau .
David Fleming: So much of my approach to this film was dictated by talking to the director Juan Carlos. When I got brought onto the film, they had tried some things musically, but I was under the impression that because it is sort of a subversion of the typical “damsel in distress” story, they were probably going to want to subvert it musically, too, and maybe do something ultra-modern. But when I had my first meeting, Juan Carlos was like, “Listen, I just love the orchestra.
David Fleming: It's huge and, in a lot of ways, subconscious. I did this back-to-back with Mr. & Mrs. Smith , where the clothes they wear sort of informed l the kinds of sounds I wanted to use. Likewise, with this, I think it was so lovingly sort of classic in so many ways. A Medieval Horn And Choir Were Key To The Music Of Damsel I want to talk about the carnyx a little bit. I know you had known about the instrument, but I’m curious both how you landed on the use of it in this score, and how you go about composing for something you haven’t written for before.
I also really loved the use of vocals. I personally noticed them the most when Elodie was having little revelations as she was trying to survive. Can you talk about where you wanted them to come in and what you wanted that to mean? The third one is a solo vocal. To me, it represents two things. It’s mainly Elodie's internal voice and the things that she is afraid to face, or knows deep that she needs to face. It’s also—and this only matters to me and, I think, Juan Carlos, the director—I had this idea…
I didn’t want it to be anonymous Hollywood-y action music. I really wanted it to feel like we grabbed the same instruments from the same pile, and he went off and made something heartfelt and I went off and made a musical panic attack with the same sources. I wanted to be very respectful of what he'd done, not just because the music is fantastic, but because I really admire him as a composer.
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