Interesting to see the evolution of the queer works. I'd like to see more sincere portraits of people in our community and it is cool to see more works coming up through the ranks that reflect this quality. LOGO just posted on their site a web series titled Montreal Boy: Some String Attached. It has a docu-style aesthetic with romantic undertones. Montreal has never looked more chic; the story takes place in locations that are both nostalgic and bohemian in nature.
One thing that I noticed in this series is their use of a score. The topic of music and placement of tunes is still fresh in my head recently from editing I REALLY LIKE YOU. Email discussions have been exchanged between composer Neil Clements and I about the use of a score. Neil is extremely talented and an amazing resource provided by Cineworks. We played around with music reminiscent of Hitchcock and I even went on a tangent digging out old classics such as Bali Hai from South Pacific. The latter tune, played as radio music in the restaurant, evoking a nostalgic quality; Peggy Lee's cover was sultry, a perfect metaphor for a siren calling on the lead character to his doom... However, the reality is that licensing such a song would cost hundreds if not thousands of dollars. After going through the film, I felt it was not necessary to have score in the film. Having music played too much to the result. The atmosphere created by the sound effects of Brian Lam and Justin Aucoin was sufficient, and the neutrality of their sounds allowed audiences to make their own choices, helping to build tension as the narrative progresses.