Soundtrack choice...

Whilst we browsed for what seemed like hours searching for the right music for our trailer we found two tracks similarly styled tracks that caught our attention, it can be said that these two tracks are most likely to be royalty-free. I made this induction on the basis that, the majority of royalty-free tracks lack vocals or lyrics, which these two tracks possess. Secondly, royalty-free tracks are very simple in style, in that they contain several notes or rhythms and are looped to save time and money. Again, these two tracks possess this quality.However just to be sure we will attempt to get in contact with the copyright owner(s0 to ask for their permission to use their music soundtrack

Royalty-free tracks are used in low budget films to conserve money, as is the case for this film. So when it is released on a global level, a viewer will hear the track and would recognise this as low budget, due to the unfamiliar nature or stereotypical nature of the track.

Unfortunately, we have already found two tracks that would accommodate the trailer. Unfortunately, these aren't royalty-free and are released commercially. One has vocals, the other doesn't. Both are found in British films.



The first track which appears prominently in the British gangster film Snatch, is Angel by Massive Attack. This track stood out in the film so we have added it to the track list of potential tracks that we might use in the creation of the  trailer.

The reason why this was because of its progressive nature. It starts merely as a drum beat then evolves into something emotional. This was used effectively in Snatch (2000). The track suddenly changes tone and the scene switches to a more morbid one. This tone would be perfect for the trailer because we want to put across the volatile atmosphere of the film effectively to the audience and this track does so as demonstrated by Snatch.



The second track is a less prominent one. Used famously in Danny Boyle's 28 Days Later, and then used later as a homage in Matthew Vaughan's Kick-Ass, it's called In the House - In a Heartbeat. The track is similar to Angel, in that it's progressive. It begins with a piano playing no more than three notes, then develops four minutes later into a metal tune. This track will also be added to the list of potential tracks that we may use  because of how it emphasises on the slow, almost tangible essence of eradication consistant with our thriller genre.



A main reason why we have chosen these tracks is because the royalty-free tracks are difficult to work with at an amateur level and are arduous to obtain. Since it maintains a constant and unchangeable tone, we however want it to develop into a disaster so it links in with the overall attitude this film dictates.