Nuclear Family is a film about the importance of music – so it was fittingly important what kind of music would be included in the film. When initially writing the film I envisioned music that would appropriately match the dream-like state that main character Marc Benheimer feels he is in. The problem was I simply couldn’t find an artist that fully matched up with this hope for the music.
It was only after beginning casting that I finally found that artist – or really the artist found me. At the time I was doing a weekly music blog that featured reviews of new albums – and NY minimalist / ambient / orchestral-drone composer Kyle Bobby Dunn sent me his album for review. I loaded it up in iTunes and saw this was a 2 hour double-album. Daunting. I slipped on my headphones, and about 2 hours later it became apparent this was the music for my film. I wrote the review (you can read it HERE) and later contacted him about the idea of me using his music in my upcoming film.
It’s with great excitement that I can tell you now that tracks from Kyle Bobby Dunn’s 2LP “A Young Persons Guide To…” and his EP “Rural Route No. 2” make up nearly the entire soundtrack of the film. Below you can listen to several tracks from his album. Almost all of these songs make an appearance in “Nuclear Family”:
While Kyle Bobby Dunn makes up almost the entire soundtrack of the film, I wanted a slightly different mood for the credits. Upon playing around with some songs I found the ideal candidate to match the mood of the ending.The film’s credits song is from one of my favorite local SF bands Honeycomb. Honeycomb is a fantastic orchestral-folk group that plays some truly incredible live shows around SF and beyond with a very distinct sound. Front-woman Emily Ritz has graciously allowed the song “Flesh and Bone Machine” to be used from their excellent self-titled debut EP. Here is a live in-studio version of the track:
I cannot be happier about this selection as both artists were my first choice. Music in film is something I focus a lot of thought into, as I am of the belief music can make or break the mood and emotion of a film. Some of my favorite cinematic moments have very much to do with the marriage of visuals and music in a unique and interesting way and I am always very cautious when approaching how music is used in my own films because of this. I am hoping the selections for “Nuclear Family” help elevate the film to a place where the audience can feel as Marc feels. Distant, Contemplative, and Layered.
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