I’m someone who likes to listen to music whenever I do things. This also applies whenever I write (like several writers and even screenwriters). I find that having music helps inform, inspire and gauge what you are doing, especially when you have a sense of what it should be.
When I was developing each story, its characters and its script, I would listen to a playlist I designed specifically for that potential film. It maps the general arc and each song reflects either a particular scene or a character’s state of mind. They provided for me the means of experiencing the journey and the world of these characters, their lives and their choices over a span of time. In turn, I hope that this transferred onto the page and potentially on film.
These next few posts will cover those playlists I made and used for the writing and development stages. I have included, wherever possible both the iTunes and the Amazon links (both US stores) for the individual song and its corresponding source (either the exact one I used or its closest readily available one). The links in the artist column will direct you to their official page/site (or barring that, their Wikipedia page). I also included a brief explanation about the song’s “function” in the story as well as any other relevant information.
See the playlist for On Nights Like This
| SONG, ARTIST | MEANING | ||
| “Intro,” The xx |  |
 |
Christopher leaves Nicole’s place in Waltham after they break up |
| “Ladies and Gentlemen We Are Floating in Space,” Spiritualized | |
|
Christopher returns to his apartment and mourns his loss [My actual source was the 1997 immediate re-issue sans the “Can’t Help Falling in Love” musical reference] |
| “Crazy for You,” Slowdive | |
|
Christopher spends the rest of the weekend reminiscing about what went wrong with Nicole. |
| “Nicole,” Gravenhurst | |
|
Christopher spends the rest of the weekend reminiscing about what went wrong. It’s also strictly a coincidence that there’s a song called Nicole. |
| “Mojo Pin,” Jeff Buckley | |
|
Christopher spends the rest of the weekend reminiscing about what went wrong with Nicole. |
| “Signal,” The Appleseed Cast | |
|
Christopher then reminisces about the high moments of his relationship with Nicole, particularly seeing shows with her. |
| “R/Elet,” Arovane | Christopher reminisces about the high moments of his relationship with Nicole, particularly the more intimate ones. [This is available on the album Atol Scrap. It can be obtained here] |
||
| “Comfort in Angels’ Wings,” Tearwave | |
|
Christopher meets with Sarah. [My actual source was from the compilation Projekt 200, which used an earlier mix than what appears on the album. It can be obtained here] |
| “Just the Same But Brand New,” St. Vincent | |
|
Christopher first sees Elena at Newbury Comics, Newbury St., Boston |
| “Frisk,” The Big Pink | |
|
Christopher goes to the nightclub reluctantly. |
| “Journal for Plague Lovers (Optimo (Espacio)),” Manic Street Preachers | |
Christopher is at the nightclub and he’s miserable. | |
| “Daddy’s Car,” Jamie Lidell | |
|
Christopher is at the nightclub and he’s miserable. [My actual source was its original source album, Muddlin’ Gear] |
| “Scoobs in Colombia,” Plaid | |
|
Christopher and Elena get to know each other. An earlier draft had a different second date where they end up dancing together. |
| “Atlas,” Battles | |
|
Christopher and Elena get to know each other. This song led to the idea of having their second date together take place at a karaoke bar. For some reason, I could imagine him singing it (and probably because I could imagine myself singing it). |
| “More Than This,” Roxy Music | |
|
Inspired by Elena’s support, Christopher goes home to work on his script idea. Admittedly, this cue was inspired by a real situation where I was enjoying a writing session (on one of the early early drafts) and I had Avalon playing at the time. |
| “Films,” Gary Numan | |
|
Christopher and Elena have a date at the movies. Christopher actually sings the first verse as a mocking response to the usher. |
| “Blood on the Motorway,” DJ Shadow | |
|
Christopher’s first heartbreak |
| “First Approach,” Vangelis | |
|
Christopher and Elena dance slowly together and make love for the first time. |
| “First Light,” Harold Budd and Brian Eno | |
|
The “salad days” leading to them travelling up to the White Mountains of New Hampshire |
| “Käytävä / Corridor,” Pan Sonic | |
|
Christopher’s nightmare |
| “Failing Light,” Harold Budd and Brian Eno | |
|
Christopher and Elena return home from the White Mountains. I like how both songs serve to bookend that trip as well as showcase the contrast between the peak of the relationship and its inevitable decline. |
| “Christmas Song,” Windy & Carl | Christopher and Elena have a small tense moment. [This is available on the three-disc retrospective compilation Introspection. It can be obtained here] |
||
| “Together & Down,” Benoît Pioulard | |
|
Christopher broods at a social gathering |
| “Love Will Tear Us Apart,” Joy Division | |
Christopher sings this to himself before he meets with Elena and has their long moment of disintegration. [My actual source was the box set Heart and soul] |
|
| “Last Flowers,” Radiohead | Christopher wants to set things right with Elena. Yet this will lead to the end. [This was initially available on the second disk that came in the limited edition package of In Rainbows. It is now available digitally here] |
||
| “Like You Know,” Film School | |
|
Christopher leaves Elena’s place and ends “where he started.” The moment when the vocals enter is when the closing credits start. |
| “Of All the Things We’ve Made,” Orchestral Manoeuvres in the Dark | |
|
(Another denouement) |
The Relationship Triptych 