Recently bankrupt, Jason discovers his baby has a serious illness and slips back into a life of crime. The film highlights an urgency for organ donors.

This is the fourth film I’ve worked on with T.J (aka Terry) and we have a brilliant method of diving deep into the narrative to come up with our score. We will have hour-long chats about anything and everything to do with our characters, themes and story, and I’m always jotting down key words that T.J repeats.

For Final Gift, Terry kept coming back to how Jason is looking to restore karma. The first cue you hear sets up many of the instrumentation that features on the score - haunting vocals, warped ambient synths that detune and fall, chimes that are soaked in reverb and delay and huge, rich bass lines. I wanted the cue to capture a sense of foreboding darkness that was shadowing Jason.

The cue, Past and Future, comes at a moment where Eloise’s father must decide whether he will change his racist views or potentially lose his daughter’s love and trust.

Terry and I continued to explore the idea of karma being restored in the Greenhouse scene. Here we have an other-worldly, mythical character who comes into Jason’s life to set things straight and finally make things right.

The cue, Passages of Time, underscores a shootout scene. Terry had a very stylistic approach to this shootout scene, choosing not to direct it in an obvious, “action” styled way. The score mimics the movements of the camera - slowly moving up and coming full circle. I treated this piece as if it were to accompany a person’s ascent to the heavens, balancing a sense of lightness with the gravitas of the situation.

Directed by T.J Kalunga Jones
Produced by Alphonso Austin, Mirinda Dawkins, Sian Jones

Selected into Urbanworld Film Festival.