I’ve collaborated extensively with a very dear friend of mine, Tim Fain, who’s the violinist; what I asked him to do was to play it as quietly as he possibly could while still generating enough sound that he felt comfortable with the note and then we recorded it very close to a mic. On what drew him to Moonlight: When I first read [the script], I was just overwhelmed by this feeling of beauty and poetry, that was really the starting point for my personal experience with the film. The first piece to get chopped and screwed: "Little’s Theme." So with Chiron’s theme, that was the first evolution of the track. It’s a different orchestration, a different key, and then applying the chop and screw technique to it. Clive Barker Has Such Sights to Show You in HBO’s. Britell says, "I called this piece of music a piano and violin poem and I wrote it early on because the movie to me felt like a piece of poetry. There’s cellos playing some tremolo, where the bow is shaking back and forth; pizzicato cellos, where they pluck the strings; and then there are cellos playing arco with the bow, playing the music of Little’s theme. Moonlight (Chopped and Screwed) by DJ Purpberry, released 03 July 2018 To stay up to date with the Motion Picture Association, please sign up for our newsletter. One of the things that I focused on when I first saw the film was I was imagining how to get inside Little’s point of view. It’s not a really incredibly in-tune piano, but I think that’s what’s beautiful about it — different pianos have different feelings and different characters and it feels so human and so true. There was just this incredible sense of beauty and of sensitivity and tenderness and intimacy in the screenplay. Britell says. With all of these ideas, what was so exciting for me as a composer was that Barry was 100 percent into trying all of this out. If you like ? But over the years I’ve found algorithms that work better than others. It’s just something fun that I spend probably far too much time doing. So the more I get the opportunity to do this, the more I feel it’s important to follow these kinds of instincts and let your emotional response to things drive you in different directions. I sort of experiment with a lot of different pitch-shifting algorithms. So where it’s in D major in the beginning in chapter one, in chapter two it’s in B major. “Yeah, I mean I want to … But Britell brought an entirely different skill set to bear when director Barry Jenkins asked him to score coming-of-age Oscar contender Moonlight with "chopped and screwed" southern hip hop in mind. After graduation, he experimented with audio manipulation on Ableton Live software when he wasn't scoring The Big Short or writing hymnals for 12 Years a Slave. With Tim’s violin line, the ocean is a big part of the film — not just literally, but symbolically — and there’s something to me in the sound of that long verb on the violin. Chopped and screwed music has always been part of Moonlight, first appearing in the original script before the score was composed. We immediately started talking about, could we do that to that to the score? As you might recall, she didn’t, so it never aired. "We didn’t want an electronic score, we didn't use synthesizers.

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