![]() ![]() That is why de Vries’ orchestral score is more prominent in the second half of the film, reflecting Ruby’s expanding world, the swelling symphony putting melody to her yearning, aspirations and dreams, the potential beyond her narrow, circumscribed community. Like the Oscar-winning “Sound of Metal,” “CODA” uses the bond between ASL (American Sign Language) and music to make a universal point. It is the ideal resolution for the film.” It felt like the perfect song to represent that ‘CODA’ experience, how you balance things from these diverse perspectives. But in terms of ‘CODA,’ from both a hearing and deaf perspective, it makes sense because Ruby is seeing the world through these two different eyes. “Nic and Alex actually pushed me towards that song,” says Heder. It was the moment where she had to separate from the people she loves and figure out who she is outside of her childhood identity.” She said it was the work of ‘childhood’s end,’ which was perfect for Ruby because that was where she was in her life. “Joni Mitchell said she was meditating on fantasy and reality when she wrote it – a combination of childlike optimism and adult reality. “’Both Sides Now’ was the perfect song choice for Ruby,” acknowledges Jones. Perhaps the highlight of the film is when Ruby auditions for the prestigious Berklee School of Music singing “Both Sides Now,” suddenly beginning to sign the song halfway through when she notices her parents and brother sitting in the auditorium balcony. The two end up bonding over their love of obscure artists.” That’s why I have Miles wearing a King Crimson T-shirt when they first meet. ![]() “This is an interesting kid who digs deep to find music. “I wanted to show that Ruby was a record bin hunter,” says Heder about the Shaggs reference, giving a nod to Patsavas. “Especially for a film like this, it’s rewarding to be able to experience that again, in audio form.” “I’ve always been drawn to soundtrack albums that take the listeners on the journey of reliving the movie, even if it’s from a completely different perspective,” says Baxter. Other highlights include Jones’ version of Joni Mitchell’s “Both Sides Now” (performed during an audition for Berklee School of Music with American Sign Language) and a closing, end-credit original, “Beyond the Shore,” written by de Vries, Heder and album co-producer Nicholai Baxter, a surefire best original song contender. The film’s soundtrack, on Republic Records, features a combination of a subtle, but swelling emotional orchestral score by composer Marius de Vries, who earned his film music bonafides working under Baz Luhrmann on both “Romeo & Juliet” and “Moulin Rouge,” as well as songs heard in the film, ranging from The Clash’s “I Fought the Law” to Marvin Gaye and Tammi Terrell’s “You’re All I Need to Get By,” the latter a show-stopper Ruby learns to conquer with her duet partner and budding love interest Miles (“Sing Street” star Ferdia Walsh-Peelo). From the moment we first meet Emilia Jones’ Ruby, singing along to Etta James’ “Something’s Got a Hold on Me,” spearing and stacking fish while her parents and brother work nearby unaware of her honey-soaked vocals, the conflict reveals itself: here was a clearly nascent talent and a need to be the voice for her family. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |