In August 2023, it was reported that Emilie Levienaise-Farrouch would compose the score for All of Us Strangers.[1] Levienaise-Farrouch was involved in the project during the post-production stage and considered it as a "very special" film while watching the final edit, having connected with the characters and themes which she knew that she would be able to create a subtle score.[2][3] There was no prescriptive approach, musically, but discussed on how the scenes meant and his reaction the music as a way of sense whether he would communicate with the right things with the cues.[2][4] Though she did not reference any pre-existing music as inspirations, the 1980s pop songs had an impact within the storytelling which led Levienaise-Farrouch allowing the score to fluidly work with those synth sounds. She also did not reference Strangers by Taichi Yamada, and took Haigh's version as the only version, rather having any imagery or expectations in her mind.[2]
Levienaise-Farrouch added that the performances from the cast played a huge role in shaping the music, as she wanted to mirror the intensity of the acting.[5] She did not want the score to be huge and bombastic, due to the subtlety of the film.[5] She decided to use acoustic instruments such as the cello, violin and piano, while also performing synths on the score while watching the film to have the emotional touch.[5] She also admitted that bringing live instruments and musicians, would add so much variation and emotion to the score but Levienaise-Farrouch wanted "to manipulate the acoustic parts enough so that they were like a dream or a memory."[5] Some of the synths used in the score were the Sequential take 5, Moog Sub 25 and the MicroKORG.[5]
Critical reception
David Rooney of The Hollywood Reporter wrote "Emilie Levienaise-Farrouch's pensive electronic score hums and chimes".[6] Wendy Ide of The Guardian wrote "the score, by Emilie Levienaise-Farrouch, harmonises with and complements intricate use of sound".[7]Richard Lawson of Vanity Fair "Emilie Levienaise-Farrouch's jarring score pings and murmurs and drones."[8] Helen Hawkins of The Arts Desk wrote "The music throughout is a perfectly judged mix of 1980s disco and a pulsing electronic score by Emilie Levienaise-Farrouch, suggesting both the real world and the supernatural one, between which Adam moves."[9] Anna Smith of Rolling Stone UK called it a "haunting score",[10] while Tori Brazier of Metro called it "atmospheric".[11] Matt Glasby of Radio Times wrote "Emilie Levienaise-Farrouch's score, all low shimmering chords, mimics the passing of time."[12]
.jpg)
