That's a long fuckin nap, eh⁉️

firstly, would like to say a delightful amount of likes, ums, kind/sort ofs, and so's have been removed. not all, but most were removed for your reading pleasure. i was gonna leave them in at first but it came to a point where it just did not make grammatical sense to do so.

i also would like to call attention to jay's trombone noises he makes. very silly :))

secondly, i guess the main thing, is that it is really nice seeing jay be very open about his struggles. he talks quite a bit about how isolating of an experience it is/can be, which makes so much sense with how niche his specialty really is, and also the fact that like it's really just a process of throwing darts at the board until you get it right. (i also found it interesting and makes sense that he shares a lot of the similar creative struggles that matt does, i.e. starting a project in the beginning/not making good on timing and then describing the process as a mountain to climb and coming out "bloody and bashed" which does feel like jay's equivalent to matt's "making a movie is incredibly and only awful/painful.")

third, i had not listened to the kid detective score prior to reading this, but went to listen to the song he repeatedly references which is called willoughbrook then. i definitely hear the romantic tones he was going for, it feels like a classic detective noir sound in the beginning but then warms up and the flute comes in and i would agree it is quite whimsical jay.

fourth, the part where he talks about matt being like mike from blackberry is sooo good. matt's already talked about how working on that movie was like his own psyche being split into 3 but hearing it from jay is pretty forward about it. this also gets into a really interesting thing how matt and jay have so many different aspects of their dynamic because in other areas they're like co-tackling the task at hand, and really with ntbts they're like co-conspirators and at the epicenter of it, but when it comes to the score that's specifically the one time that jay is like providing a service to matt? idk how to articulate it better but it's like there's a higher standard there for jay to deliver something really good, whereas in other aspects of production it might be a collaborative process of tackling the script, storyboarding, etc.

fifth, jay really talks about how scoring for him is very director-centric and majorly about understanding the movie as opposed to the music itself. this is like load-bearing jay framework to me. i really enjoyed reading "...clarity that you need to have, as just a filmmaker, or at least seeing virtually through the eyes of the filmmaker of the film. That’s what it’s all about. It’s seeing the subtext and seeing the opportunities to help support and push the narrative and emotional points of the movie that it’s trying to do." like yes!!!! yep!

okay that's all i got. i also thought it was very cool to hear a little bit about how Operation Avalanche was scored with that jazz band. Ooh! Also, before I forget Ann Phung is the same flutist who worked on Hungover Still for the live Brave Shores album and she kills it! She's AWESOME!!