Film composer Nicholas Britell on writing “Little’s Theme” for Moonlight
We put the violin very, very close to the mic and I asked [violinst] Tim [Fain] to basically play the notes as quietly as he possibly could while still having the confidence of the note feeling, because you can play it so quietly that it loses some of its inner strength. So he found this pressure where it was just at the point where it felt confident and yet it was so quiet, and because it was close mic you had the sound of the bow hair. … I like hearing the sound of the instruments and hearing the noises and the textures that instruments make, hearing the air in the room. I think that makes it feel real and beautiful to me.
So then I took the violin that we’d recorded very closely and I ran it through some reverb, where there’s actually a subtle amount of very long tail reverb on it too, which just gives the violin this extra feeling of almost like a mist or something around the notes. There is that feeling of tenderness, hopefully. There’s an intimacy that I wanted that to feel like. … Once I knew “Little’s Theme” connected with the picture, then it became the question of, “How do we evolve this over the course of the movie? Where do we go from there?” And that was when Barry and I really began more fully exploring this idea of chopped and screwed music.
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