Movies

‘Cuckoo’ director Tilman Singer breaks down Hunter Schafer’s onscreen song performance

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'Cuckoo' director Tilman Singer breaks down Hunter Schafer's onscreen song performance

As a seasoned movie critic with a penchant for horror and a soft spot for coming-of-age tales, I must say that “Cuckoo” has left me both unsettled and enchanted. The film’s intricate blend of suspense, emotion, and music is a masterful symphony that resonates deeply within the soul of any viewer who has ever felt lost or out of place.

In the initial script for Tilman Singer’s horror movie “Cuckoo,” which hit theaters last Friday, several instances of needle drops were already included, having been written as early as 2019.

However, it wasn’t until several years afterwards that the film’s defining musical moment, a tender soft rock tune sung by Hunter Schafer’s character in Euphoria, was finally put together.

As a movie enthusiast, I found myself immersed in Schafer’s role as Gretchen, a troubled teen, in Singer’s second directorial venture. Following the tragic demise of my mother, I decided to abandon the familiarity of the U.S. and live with my father Luis (Marton Csokas), his new spouse Beth (Jessica Henwick), and my 8-year-old half-sibling Alma (Mila Lieu) at a resort nestled in the heart of the German Alps. My employment as a receptionist at a nearby lodge only added to the peculiar experiences I had with the resort’s enigmatic guests, including the eccentric owner Herr König (Dan Stevens). These encounters hinted that my idyllic new abode was far from the paradise it claimed to be.

In the eerie journey through “Cuckoo,” music plays a dual role, both emotionally and narratively guiding us, offering a distinct tale that contrasts with the main storyline, as suggested by the singer.

Suitably, the chilling scene where the movie’s first real scare occurs takes place while Gretchen is practicing bass in her room. Wearing noise-cancelling earphones, she sings and plays guitar to some grunge music, with Alma observing from just outside her line of sight.

The extended sequence switches between different sound perspectives, creating suspense, until Gretchen eventually perceives her younger sibling during the initial onset of multiple seizures. It’s later disclosed that these fits are responses to the wicked serenade of the cuckoo beings, referred to as “homo cuculidae” by the author, who dwell in Resort Alpschatten.

In this particular scene, the singer carefully crafted a dialogue that powerfully conveys the tension between the sisters, establishing the main conflict. However, not everything unfolded exactly as intended.

“They’re quite noisy, yet they possess a lazy, apathetic attitude, which is almost like gazing at shoes.” However, when Neon found the licensing cost to be excessive, he had to reconsider his plan.

In a moment, I glanced over my list again, and it contained entries such as ‘Suicide’ or ‘The Velvet Underground’. I thought to myself, ‘I won’t be acquiring any of these’, before dialing Simon Waskow.

The friend and frequent collaborator of the singer, Waskow, who had previously scored the director’s first movie “Luz” (2018) along with several short films they worked on between 2010 and mid-2010s, wrote the song “Gretchen’s Song” in just one afternoon.

“In a rather surprising yet delightful way, that particular melody seemed to fall into place effortlessly among my compositions for the movie. Among all the musical pieces I crafted, that song appeared to be the smoothest and most natural creation process.”

Following Singer’s casual recommendation, Waskow modified a “Western spaghetti tune” from their previous short film “Mr. Vandekurt, Dear” – along with a rhythm from the Jesus and Mary Chain – into the heavy bass track.

According to Waskow, Schafer adjusted himself so perfectly to the melody that following her vocal recording, he re-did his own performance to harmonize with hers.

“Hunter’s acting was naturally endearing and effortless, it seemed as if he had found his perfect fit,” he remarked. Interestingly, even though Schafer picked up the bass specifically for this movie, her portrayal in that scene gave off an impression of a seasoned player.”

What I adore so much about her is her unique ability to execute something both delicate and deeply emotional, yet with an effortless, yet intentional, nonchalance. (Singer’s statement paraphrased)

In the movie “Cuckoo,” a part of “Gretchen’s Song” serves as the main character’s recurring motif. This tune appears frequently, with one particularly significant instance being towards the end when Gretchen and Alma make up. The song is most memorably played at the film’s finale.

The singer described it as a melody that begins with a sense of sadness but eventually transforms into something optimistic, reflecting both the characters’ journey in the movie and its overall theme.

The songs on the “Cuckoo” soundtrack mirror their respective scenes in a similar manner. Gerhard Trede’s jazz-blues evoke an old-fashioned ambiance within the resort lobby, while Martin Dupont’s French New Wave music captures the romantic frisson between Gretchen and a captivating resort guest.

Just like costuming or set design, music is a world-building tactic in “Cuckoo,” Singer said.

Beyond that, he added, music serves as both a philosophy and a weapon for Gretchen during her mourning process. Her music is a way she copes with the loss of her mother, and it acts as a defense mechanism against those who are cruel, much like the contrast between her low-toned melodies and their shrill voices.

“According to Waskow, Gretchen embarks on a classic hero’s journey, eventually transforming herself into a skilled musician after encountering peril.”

“She was always supposed to defend herself with music,” Singer said.

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2024-08-13 21:31

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