{"product_id":"ella-van-der-woude-how-to-shoot-a-ghost-ost-vinyl-pre-order-copy","title":"Ella van der Woude - How to Shoot a Ghost (OST) (Digital)","description":"\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eHow to Shoot a Ghost\u003c\/strong\u003e is the new short film by director \u003cstrong\u003eCharlie Kaufman\u003c\/strong\u003e (director of \u003cem\u003eSynecdoche, New York\u003c\/em\u003e, writer of \u003cem\u003eBeing John Malkovich\u003c\/em\u003e and Oscar winner for \u003cem\u003eEternal Sunshine of the Spotless Mind\u003c\/em\u003e), starring \u003cstrong\u003eJessie Buckley\u003c\/strong\u003e (Oscar-nominated for \u003cem\u003eThe Lost Daughter\u003c\/em\u003e, and known for \u003cem\u003eWild Rose \u003c\/em\u003eand\u003cem\u003e Men\u003c\/em\u003e, having previously worked with \u003cstrong\u003eKaufman\u003c\/strong\u003e on \u003cem\u003eI’m Thinking of Ending Things\u003c\/em\u003e). The film premiered at the 2025 Venice Film Festival:\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cem\u003eTwo newly dead young people meet in the streets of Athens, amid the pulsing cityscape and the ghosts of history. One a translator, the other a photographer, they were outsiders in life; in death, they struggle with the residue of their longings and mistakes. They wander the city together, finding consolation in the difficult beauty of existence and its aftermath. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElla van der Woude: \u003c\/strong\u003e\u003cbr\u003e“When the producers reached out about scoring a short film called \u003cstrong\u003eHow to Shoot a Ghost\u003c\/strong\u003e, directed by \u003cstrong\u003eCharlie Kaufman\u003c\/strong\u003e, I honestly assumed it was someone starting out who simply shared his name. I didn’t know he had directed another short before this one, and the whole situation felt too unlikely to be real. By the time I came on board, the edit was nearly finished, so things moved quickly, and I started working soon after our first Zoom meeting.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEva H.D. \u003c\/strong\u003e(writer) and \u003cstrong\u003eCharlie Kaufman\u003c\/strong\u003e worked closely together throughout our process, and our weekly meetings often made me feel more like I was in a \u003cstrong\u003eKaufman\u003c\/strong\u003e film than scoring one; their dynamic was funny, and the circumstances in which we met – different time zones, freezing screens, life happening in the background – added an extra layer of absurdity.\u003c\/p\u003e\n\u003cp\u003eA film always has its own will, and you have to figure out what it wants. The main challenge in scoring this film was shaping and punctuating the music that appears almost continuously. It took me a moment to understand how much the film’s narration would rely on the score. I intuitively felt like keeping a lot of open space for the voice-over to unfold, but \u003cstrong\u003eCharlie\u003c\/strong\u003e and \u003cstrong\u003eEva\u003c\/strong\u003e rightly encouraged me to create something far more propulsive and illustrative than what I would naturally write. That’s something I really appreciate about film scoring: you end up making music that still sounds like you, yet takes you somewhere you wouldn’t have reached on your own.\u003c\/p\u003e\n\u003cp\u003eIn this case, the musical language is clear and simple, which gave me the freedom to experiment more with arrangements and textures. I worked from a solid foundation of piano and cello lines — played by \u003cstrong\u003eAlistair Sung\u003c\/strong\u003e — which created the ground for the saxophone, performed by \u003cstrong\u003eHristo Goleminov\u003c\/strong\u003e, to soar and dance freely alongside the wonderfully wild cello work of \u003cstrong\u003eBrent Arnold\u003c\/strong\u003e. You can hear this interplay clearly in \u003cem\u003eIs Beauty Enough? \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe film is full of beauty – an intimate connection to the material world and, ultimately, a graceful farewell to it. The music aims to evoke these emotions in the viewer.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Kaufman: \u003c\/strong\u003e\u003cbr\u003e“We were fortunate that she agreed to work with us. The film is less a conventional narrative than a collage, a day in the death of two ghosts wandering Athens. It mixes actors, street photography, archival footage, and home videos to create a tapestry that jumps back and forth in time. We needed a score that could move nimbly through all the various moods and still maintain an emotional throughline. \u003cstrong\u003eElla\u003c\/strong\u003e worked creatively and tirelessly with us to find so many beautiful and soulful solutions. Her extraordinary score, so integral to our film, is a work of art in its own right.”\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Snowstar Records","offers":[{"title":"Default Title","offer_id":55256974262606,"sku":"EllaHowToDigi","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0117\/8491\/2955\/files\/HTSAG.jpg?v=1768210636","url":"https:\/\/snowstar-records.myshopify.com\/products\/ella-van-der-woude-how-to-shoot-a-ghost-ost-vinyl-pre-order-copy","provider":"Snowstar Records","version":"1.0","type":"link"}