Cellarscape talks Felicity Jones short Emily and Sleepy Hollow companion

We gave you a short version of our chat with the artist known as Cellarscape (but who we like to call Paul Terry) back in Issue 38 of MyM. In honour of the release of his new book, Sleepy Hollow: Creating Heroes, Demons & Monsters, and the launch of a new website for his combined projects, he’s expanded on that interview in three juicy areas… 

On Emily (Original Soundtrack) 
“There’s kind of a ‘French cinema’ vibe about Emily, so we worked hard to echo that with the soundtrack. This is the second co-composing project I’ve done with James Bellamy. It’s so different to the previous film scores I’ve done, which makes it even more satisfying. Emily‘s music is all about subtle tones, and an act of restraint, which means it’s a great contrast to the likes of Care’s visceral horror tones and The Furred Man‘s dark fairy tale vibe.
“One of the fun things about preparing the Emily soundtrack for its release was that me and James forgot that we did a kind of demo version of the end credits theme tune that was pretty different. We did a demo with just piano and vocal to get the ideas flowing of how the melodies should work. It functioned as a culmination of the cues you’d heard in the film, building towards a full theme for the end credits.
“I remember that it was around 3am in the studio, and Caroline Harvey and Felicity Jones were still there being awesome. As a team we were also focused on honing the sound design, which James and I were also handling. So there was late-night ADR, foley, etc going on as well as the developing the score. We played that demo for the end credits, and of course, the way scores evolve when you’re in post-production, it turned out to be much better to have an instrumental version of that idea. So we embellished the piano and guitars a little more to give the final cue some more colours and movement.
“However, revisiting the audio files and sessions, we came across the original demo. For the soundtrack release we were able to polish it up, we got Dave Draper to mix it all, and it’s at the very end of the soundtrack almost like a bonus track. It’s a very small, intimate song, but it feels like a nice way to exit the soundtrack.”

Felicity Jones Emily

On Sleepy Hollow: Creating Heroes, Demons & Monsters
“The official Sleepy Hollow book, which I wrote with my frequent collaborator Tara Bennett, who I also did the Lost Encyclopedia and Fringe: September’s Notebook with, is out now. It’s called Sleepy Hollow: Creating Heroes, Demons & Monsters. It’s an exhaustive look at all of the work done by the different art departments of the show – from makeup, the special effects makeup for the creatures, the costumes to the visual effects teams to the set designers, locations teams – everyone who is responsible for any artistic aspect of that show. They opened their vaults and basically said, ‘Enjoy!’
“So since January of this year, Tara and I have been carefully going through gigabytes and gigabytes worth of artwork and also conducting the interviews. If you love Sleepy Hollow, but also, if you just love monster movies, then you will get a lot of enjoyment from this book. Tara and I love the prosthetic creature work done on this show. With mostly CGI being used on other TV shows and movies, seeing the process behind the real, physical effects created for Sleepy Hollow is fascinating. They pull the impossible out of the bag every week, making monsters that look like living, breathing beings. They’re incredible. So we loved getting to put this book together for the show and its brilliant fans, the ‘sleepyheads’, and the team at Fox and the producers of the show have been incredibly supportive of this book.”

On musical side project Mech Wendigo
“In complete opposition to what Cellarscape is, I’m doing a side project with Dave Draper. Dave mixed and mastered The Act Of Letting Go. Mech Wendigo is all about everything Cellarscape isn’t: huge drums, crashing riffs, distortion… we’re having a lot of fun with it.
“The project was born out of a song I wrote with James Bellamy for a short film called King of Hearts. Our score for that was an experiment of medieval orchestrations fused with homemade samples of things like playing cards being performed on a table. It was pretty much a silent movie, so we liked the idea of the end credits having this bombastic, industrial version of the score elements you’d just heard. So this first Mech Wendigo song is called The Bait & The Trap, and the lyrics were inspired by the scenes from the film.
“As I’ve been releasing a bunch of my scores this year, mixed and mastered by Dave Draper, he ended up playing extra guitars and also bass for this song. Dave then said, “I’m really enjoying doing this kind of soundscape with you…” and I was nodding enthusiastically going, “Yes! I agree!” So it’s now a side project for us. The Bait & The Trap is out as a taster of what’s to come, and we’ve already starting working on a bunch of songs for the first Mech Wendigo album. It’ll be out later in 2016.  It’ll be out later in 2016.”

My Music: Cellarscape interview 
MyM magazine musical special is out now! 
Paul Terry interview: The Act Of Letting Go by Cellarscape


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