Development
The producer and directors decide to go with a whole new sound than the traditional orchestra score in most animated films. In the summer of 2022,composer Stephanie Economou was given the script for the film,Economou had earlier worked as an additional music producer and co-ordinator to Harry Gregson-Williams. [3]
She really responded to the story,which she said "Ruby’s character came across the page. She's such a relatable person,and so are so many of the other [characters],the mother relationship,the grandmother relationship. I think there's a lot of generational narrative in there that we can all relate to,which is quite universal." [4]
Economou had a meeting with the filmmakers to give her freedom to write the score her way and signed on as the official composer for the film,which was Economou’s first animated feature film she had ever scored and her first ever score for a mainstream studio film. While she was reading the script,she had heard sounds of dream pop and synth pop that became the basis for the score. [5] [6]
Economou’s influences while making the score for the film are Beach House,Slowdive,M83,Jaguar Sun,Cocteau Twins,and The Cure,For the first theme suite she wrote for the film,which was Ruby’s Theme,she wanted a melody that was going to reflect her life as an ordinary teenager. She played around finding a theme for her,and found something that was lyrical and heroic. Economou also experimented between styles and genres of music for the score. and for Chelsea,she used a poppy and more peppy sound that is a Pharrell type pop,like Missy Elliott. She also used world instruments like didgeridoo and vocals and conch shells,to bring in something new in film score. [6]
Economou was involved in the creative process from the onset and given a lot of freedom,although the directors suggested the film's music should "feel special,having its own voice and part of the world building" and should not go traditional. She wrote a dream-pop and synth-pop to explore Ruby's life on land and underwater. Having an orchestral background,she experimented with traditional instrumentation and orchestra such as brass,strings,woodwinds and choir,juxtaposed with the ecletic sounds. For Ruby's theme,she used guitar,synthesizer and vocals,as well as bringing French horns and violins. [4]
Economou came up with synth pop sound while Ruby’s on land,and a dream pop sound while Ruby’s in the ocean,with a little bit of indie pop in between,which makes the story feels like a late 90's-early 2000s teen film where it was ordinary teenage life,with more guitars and synths,including a rubber bridge guitar. [6] [7]
Economou also brought in Ari Mason,in order to create a kraken language choir,which was in Scandinavian folklore. Inspired from old Norse syllables and invented syllables. [8]
Economou also brought in musicians with instruments that have been rare in film score,which includes an omnichord,ocarina,conch shells,an electro acoustic harp and a Bohemian crystal instrument. [6]
For the score,anything that was not orchestral Economou recorded as she is writing the music. For six months,she remotely recorded those sessions with the soloists. [6]
While the orchestra score is recorded for 6 days at Abbey Road Studios in London,England,with the Co-directors Kirk DeMicco and Faryn Pearl,producer Kelly Cooney Cilella,their assistant Anna Eva Kotyza,co-producer Rachel Zusser,editor Michelle Mendenhall and story and editorial supervisor Jason Tenandar traveled to London in order to help supervise and see the score of the film firsthand at Abbey Road. Economou's husband Jon Monroe plays guitar as one of the soloists. He experimented several electric guitars running through effects. Economou also conducted her own score with the orchestra during the sessions. [6] [9]
Since the town was also a character in itself,she tried to make it "grounded and less dreamy" which resulted in an indie pop music from the 1980s. She used effects to incorporate actual effects which were numerous textures coupled with the solo instruments to immerse with the world. The score was recorded at the Abbey Road Studios in London,with Hal Rosenfeld and Scott Michael Smith recording and mixing the orchestral portions. The other half of the score was recorded at Cow On The Wall Studio,which was owned by Blake Neely. [10]
