Can you discuss the collaborative process you had with composer Dickon Hinchliffe?
SB: I first discovered Dickon Hinchliffe’s music through Tindersticks in the 90s when I was a student in Paris. I wrote Cold Souls listening to Dickon’s music and at that time I wasn’t even dreaming that he would accept to compose the score for the film. Listening to his music while writing would put me in a floating, almost hypnotic state. We tried different things for six months during the editing process. He was composing in the UK and we were editing in New York, but he came for few days early in the editing process and we had long talks about the tone of the film, which was difficult to nail. We didn’t want to push the comedy too obviously with the music. I was surprised that he was able to create such profound and rich melodies and intertwine feelings of melancholy, loneliness, confusion and alienation with a much lighter and humorous touch in the score. Some cues have a charming and playful quality. His composition for the “soul sequences” (when characters see into theirs or oth
