When composer and songwriter Lisbeth Scott was working on the end music for Marc Meyers’ romantic film, “All My Life” (PVOD), she found herself so immersed in the world of the characters that she ended up writing an end title song.
The film is based on a true story and stars Jessica Rothe and Harry Shum Jr. in this story about a couple who go on a date, fall in love, but it’s not all fun as games and sweet romance as Solomon (Chum) is diagnosed with a terminal illness. With that in mind, Scott wrote the lyrics to “Just You and I” with ease, touched by the poignancy of it all.
She breaks down how the song came together and looks at her favorite cue in the film.
Thanks to Netflix, romances are having a revival. How did “Just for You and I” come about?
I was working on the end title, and I had spoken to the director Marc Meyers about creating something new rather than pasting cues from the score.
I started writing it, and the words just started coming out. I called him and said, ‘There’s an end title song happening.’
Everything about that film was a beautiful organic flow, including the end title song. It was one of those things that comes out of you quickly. I sent it over and they loved it.
We got to record it with an orchestra at Nathan Barr’s studio, and it was quite an experience.
How long did that process take in terms of what you wanted the sound to be for the song?
I wanted the sound to match the textures and sonic world of the score. I used a lot of layered vocals, muted strings, keyboard and guitars.
I started with the stacked vocals to build that out. I was lucky to work with Bill Ross, the composer who was so generous with his time and talent and it just came together. It took a day and a half.
Did the song go through any changes as it came together once you had the music?
I wish I could say ‘yes,’ but no. It doesn’t happen always, but this song came out. I think because I was so immersed in the world of the characters and feeling their story; the fact it was a true story was even more poignant. I felt so lucky. You get inspirations and ideas, and you create them, and you check out and come back, but this was easy and this beautiful flow from beginning to end.
Let’s have you break down the cue for “Farmer’s Market Tango?”
I love that song. I love talking about it because it went through several iterations before we found something we all agreed on.
There’s no way that the composer can always be on the director’s mind. The first version of the cue, the beginning was working well, but as the characters get separated, I had gone to a darker place.
