A composer’s perspective from Howie Reeve
“Our remit as composers on TimeLock was principally to augment, to suggest rather than spell out the various motifs within the film. We composed in two pairings: myself and RM Hubbert, and myself and Rafe Fitzpatrick. There was also a third, equally vital musical component, namely David McAulay’s excellent sonic atmospheres.
David Griffith had a clear idea of what he wanted, but his role was very much one of trust and facilitation. As such, we were given broad templates to work to. Hubby and I created themes for Mark and Cal, musical sketches that implied either character’s flawed emotional make up, framed within the predicaments they face in the film. Rafe and I created an overall ambience, mostly applying a feel of slight disembodiment, which goes hand in hand with Mark’s general torpor, and the almost fly on the wall detachment of some of the camera shots.
There is a claustrophobic feel to much of ‘TimeLock’, not only on a literal level, but also in the basic emotional states of its characters – a kind of fatalism which portrays Mark, Cal and others as virtually helpless in their drives and debilitating thought patterns. However, this is not absolute, and especially at the end of the film, the notion of an individual’s power to make redeeming choices is lightly touched on.
The whole of the film invites the viewer to make choices themselves, and, generally, our job as musicians was to insinuate, rather than to hammer home: we weren’t looking for blatant riffs – our approach was far more textural.”
Howie Reeve, composer on TimeLock together with RM Hubbert and Rafe Fitzpatrick
Howie Reeve, RM Hubbert and Rafe Fitzpatrick had never composed for a feature film composer until they agreed to work on TimeLock. That said they are supremely gifted musician and we never had any doubts that they would come up with a fantastic soundtrack for the film .