Alex / October (2022), a feature film from writer-director Josh Hope, produced by Lisa Freberg.

A desperate man places a bizarre classified ad to end his life, but a strange turn of events occurs when an aimless girl decides to answer. As their lives collide, they realize the smallest choices can be the difference between life and death.

This was the first feature I scored during the beginning of the pandemic lock-down. I was grateful and delighted to have such a fine project to focus on while we were all cloistered, and all somewhat concerned about the future.

The film was shot in Chicago, in winter. Much of the terrific cast is local. The locations ooze with a bleak urban mid-western sensibility. The story is dark, but there’s a hopefulness and even a touch of black comedy to the film. I tried to mirror that in the music. Iciness, desperation, with a hint of jazz.

The older character, Alex, is a man beaten down by life. I imagined the music he listened to a young man. Mid-western rock, perhaps John Cougar Mellencamp or Pure Prairie League, and that informed some of the musical choices for him. October, the young woman he befriends, is brash and impulsive, but also brittle and damaged. Gongs and other metal percussion became her musical identity. All those elements contributed to the sound of the score. The music was a joy to compose, and it come fairly easily. 

I am particularly proud of the final piece, Prehistoric Mutant Lizards Return, which is used as the end-credit music. Two drummers, and veteran keyboardist Jeff Babko are on this track. And me singing and whistling! I normally wouldn’t dare to sing on my own score (I don’t care for the sound of my voice and most other people don’t either), but for the broken character of Alex, it seemed fitting.

https://www.alexoctobermovie.com