00:00I'm Devontae Hines, and I'm here to talk about The Invite, filmed by Olivia Wilde.
00:06They showed me, actually, the opening 10 minutes of the film.
00:11You know, we discussed a lot of the influences, like Bergman vibe, and what the film is about.
00:18I have a lot of ideas very quickly, and I started to kind of sprout a lot of thoughts,
00:23and one of them was, what if it's all cello?
00:26Getting to work with someone like Dev, he has such a great ear for the wide variety of, like,
00:31textures and timbres that we can pull out of this cello, and how can that contribute to telling the
00:36story of the uncomfortable tension that is such a part of this film.
00:41You guys have money?
00:43When you're in these relationship dramas, it feels so intense, and I feel that's something that more
00:50traditional acoustic instruments, and specifically the cello, can really illustrate.
00:56You want me to explain?
00:57I would love that.
00:58I will explain yourself.
00:59Please do.
01:00Please do.
01:00The first time I was coming out of the shower.
01:02The first time.
01:03First scene I scored might have ended up being the hardest scene to score.
01:06Not the full-on beginning, but the second beginning.
01:10Edward Norton and Penelope Cruz's characters come to the house.
01:14Joe, you remember Peanut and Hog?
01:20And they first meet, and there's this kind of tension, and it's contentious, and there's
01:26these little quips that Seth Rogen's character's making, and they're like sussing each other out.
01:34That's probably my favorite cue from the whole score.
01:37What Dev did, he just put it in 3-4.
01:39There's all these awkward gaps in the dialogue.
01:42It does such an incredible job of telling what's not being said in the room.
01:46It's this really uncomfortable scene.
01:48You kind of cringe watching it.
01:49Tell it, be honest.
01:50Do you want us to take them off?
01:53I don't give a fuck if you take your shoes off, personally.
01:57There's a lot of dialogue happening.
01:59A lot of dialogue.
02:00And then also a lot of dialogue without dialogue.
02:02But your score never steps on it, and it just kind of weaves.
02:06The music makes you laugh out loud, actually, without being like funny or gimmicky.
02:11I cannot, I don't eat meat.
02:14If someone's upset about someone not liking the food they've made,
02:18inside it feels like this intense moment.
02:22And so I wanted to emphasize that, which kind of plays into the comedy of the situation,
02:26but also respects the emotion.
02:28Do we have anything nice to drink?
02:30No, there's nothing to drink.
02:31We should probably call them and tell them not to come over, right?
02:33I just wanted to have a nice night.
02:34I just wanted to have a nice night.
02:35Some of these, like, argument scenes, it's not even so much what they're saying.
02:39Not listening to each other, talking over each other.
02:42I like highlighting that with, um, by just almost like piloting more.
02:47Yeah, it's really effective.
02:49Something I really enjoy about scoring,
02:53there's all these different people working on films,
02:57and the goal is to make a great film.
03:02The end always feels the same for me,
03:05which is a bit of wow moment of, I can't believe this exists.
03:09Like, I can't believe we actually made a thing.
03:12Great.
03:13Cool.
03:15Grace.
03:16Good luck.
03:17Enjoy everybody.
03:18Thank you, yes.
03:19See you soon.
03:20Bye.
03:22A question.
03:23Appreciate your time.
03:27be in charge. Bye.
03:28Two calls.
03:31Bye. Bye.
03:33Bye. Bye.
03:33Bye.
03:33Bye.
03:33Bye.
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