How did your work on “Really Love” come to fruition?
At the time, I was with Paradigm Agency. So, it came across their table and I was invited to watch the film. When I watched it, I was like, “Man, this is really great,” and I knew that I could do it. I talked to Angel and I think we went out to get some coffee and we really just hashed out what this film could be and what the sound was.
What are some of your favorite instrumental moments in the film?
So, for the conversation between Stevie and Isaiah and their love, we chose the trumpet and cello. My compositional arrangement was to tie the two together as much as possible in a groovy way. It’s like jazz and R&B together. That is very representative of Black culture. We wanted to use that direction. All throughout the film there are only a few moments where there’s not a cello, horn and trumpet together.
If you remember the part where where Isaiah is on the couch, you only hear trumpet playing. The whole emotion is just the trumpet by himself. When she’s in the bed by herself after she told him to leave, it’s the same. That was a device that we use and hopefully people caught it. I would hope people will go back and watch it again with that in mind, because we worked very hard to make that happen. He and she together is one of those examples of them being in a moment of kind of bliss and understanding.
