Waiting For Dogot

Waiting For Dogot was a weird one, in a good way. First off it’s a comedy, granted a fairly dark one, but a comedy nonetheless, therefore it thrust me immediately out of my dark and ambient comfort zone. Or so I thought. 

The dark comedy film was made by Sami Abusamra and crew, I was asked to compose a piece of music that resembled Max Richter (a composer I happen to admire and draw inspiration from, Richter composed The Leftovers, Sleep, Black Mirror, and a lot of solo music). Richter’s style is very ethereal and beautiful, factors I try to include in my music. He also has a very minimalist style, his 8-hour solo album Sleep is comprised of extremely repetitive phrases, and long drone-like, pulsing ambiences. Minimalism is something I aspire to use effectively in my music and feel is an area Richter has mastery over. In Waiting For Dogot, Sami required two pieces, the first would play over a slow motion scene, and needed to be epic and heavenly and create feelings of euphoria, all to be used ironically and in an obvious tongue-in-cheek nature. I saw this as the perfect opportunity to compose something minimal, and I was excited to get started. The second piece was to be similar to the first but to create and suggest a feeling of unease. 

The film follows two mates, one of which is getting married, heading out on a trip planned by the best man. They are going to meet up with a girl that’s dressed as a dog to engage in (this is where the dark part comes in) sexual acts. Unfortunately, the girl they have arranged to meet doesn't show up, but coincidentally a French man in a dog suit does. Some awkward events occur and the trip ends in disappointment. 

The first piece of music was to come in and support the scene in which one of the characters gets out of the car in disappointment to have one last look for whom they are supposed to be meeting. The piece starts out sort of timid and tender, to produce feelings of sadness and dissatisfaction. But then in the distance, we see a figure emerging from the trees that resembles a person wearing a dog suit. The music at this point develops into a more heavenly, euphoric feeling to reflect the relief and excitement shown in the characters face. 

The piece gradually clarifies as the character turns to see the figure, this is when the violin comes in and creates the feeling of elation. I chose piano and violin for this piece as they created the desired feeling perfectly. 

The second piece comes in towards the end of the film and is intended to create a feeling of discomfort and tension. For this piece I, focussed more on sound design and on creating a certain creepy feeling through dark drones and odd alien sounding vocal effects. 

Sami Abusamra and crew are extremely talented filmmakers, making very witty and intelligently humorous content which you can check out at http://samiabusamra.com/

Ashley Holbrook

Ashley Holbrook Film Composer