The composer — the first woman to win for best original score, in 2020 — worked on two awards contenders this year and could break another record if she receives nominations for both.
is more of a character study than it is necessarily a story as such. I was really diving deep into this character and her past, her future, her present, the way she relates to music. It was very different from any other film that I worked on, because I was writing music partlyher, so I was kind of putting myself in her shoes. It was a very complex process and very delicate to work on., on the other hand, is a much more traditional score; it’s a thematic score, it’s partly very melodic.
It was very important to me that the sound world was as close to the environment of this colony as could be, because obviously, these women would probably not have access to an instrument at all. Their musical landscape would not have been very rich. But I imagined that the nearest instrument to their vicinity would have been guitar. I wanted the instrumentation to be quite down to earth, accessible and folky or rural.
“Sarah [Polley] was very clear that the music give us a sense of hope,” Gudnadóttir says about United Artists’, did it make it easier to compose for a film about a composer, given your background? I guess yes and no. It was just such a great process to work on this film, because what I found so interesting about it is that it’s really a film about the process of making music and writing and communicating about music to your fellow musicians and students, so it’s not about the finished version. She’s one of the best at what she does in the film, but she also fails, you know. So it’s not somehow about succeeding, and I didn’t really feel any pressure to succeed.
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