Track listing
- Fireside (Opening Titles) [1:06]
- Red Wood / Pigsty [1:10]
- Mum [0:20]
- Feeding Time [1:08]
- A Watcher in the Woods [0:48]
- Sticks and Stones May Break My Bones [1:13]
- Bloody Lips [0:54]
- The Werewolf Scene [1:52]
- By Candlelight / The Scar [2:20]
- Ambulance [0:50]
- The Red-Hooded Girl [2:48]
- Wolfsmarch (Main Theme from The Red-Hooded Girl) (Bonus Track) [2:00]
- The Red Wood Theme (Full Version) (Bonus Track) [2:48]
- Pastoral Red (Bonus Track) [1:47]
- Main Theme (Pastoral Demo) (Bonus Track) [0:18]
The Red-Hooded Girl is a 2013 Gothic horror short from Viewfinder Films, directed by Mark Norman and inspired by the tale of Little Red Riding Hood with a dash of The Wolfman thrown in. I was present for some of the filming in Didworthy and Plymouth, and even played a starring role as... a pig.
Mark contacted me during post-production, asking if I would score a section of the film -- specifically, the central werewolf sequence, where the creature (Jim Elton) attacks the red-hooded girl (Elisabeth Burnette). He was pleased with the result (track eight), and offered to let me score the rest of the film, sending over a rough cut for guidance.
I used two primary themes for the film; the first is a pastoral melody playing over scenes of the red-hooded girl walking through the woods (notably tracks two, four and six, and in full in track thirteen), and represents her relationship with her sick mother (Rosie Mullins) -- particularly in a brief piano version comprising track three, and on harp in track six). This motif becomes progressively darker as the tension mounts, being played on low strings and cellos after it is revealed she is being watched from the undergrowth (tracks four and five). The second theme comes to dominate the score, appearing as the horror aspects make themselves plain, and particularly underscoring scenes featuring the werewolf (tracks seven to ten). I initially composed this motif for the score to Trapped (2012), another horror short. This theme closes out the film, playing over the climax and into the credits (track eleven).
The album closes out with four additional tracks; the first is an unused version of the main theme (track twelve), and was the second track composed for the project (after "The Werewolf Scene"). The second extends and expands the Pastoral Theme as heard in track two into a full, album version of the motif. The third is an early version of the pastoral theme, initially composed as an option for track two, and is somewhat inspired by "Yoda's Theme" by John Williams. The last is an early version of the main theme in pastoral form, composed prior to "Pastoral Red" and "Red Wood".
Mark contacted me during post-production, asking if I would score a section of the film -- specifically, the central werewolf sequence, where the creature (Jim Elton) attacks the red-hooded girl (Elisabeth Burnette). He was pleased with the result (track eight), and offered to let me score the rest of the film, sending over a rough cut for guidance.
I used two primary themes for the film; the first is a pastoral melody playing over scenes of the red-hooded girl walking through the woods (notably tracks two, four and six, and in full in track thirteen), and represents her relationship with her sick mother (Rosie Mullins) -- particularly in a brief piano version comprising track three, and on harp in track six). This motif becomes progressively darker as the tension mounts, being played on low strings and cellos after it is revealed she is being watched from the undergrowth (tracks four and five). The second theme comes to dominate the score, appearing as the horror aspects make themselves plain, and particularly underscoring scenes featuring the werewolf (tracks seven to ten). I initially composed this motif for the score to Trapped (2012), another horror short. This theme closes out the film, playing over the climax and into the credits (track eleven).
The album closes out with four additional tracks; the first is an unused version of the main theme (track twelve), and was the second track composed for the project (after "The Werewolf Scene"). The second extends and expands the Pastoral Theme as heard in track two into a full, album version of the motif. The third is an early version of the pastoral theme, initially composed as an option for track two, and is somewhat inspired by "Yoda's Theme" by John Williams. The last is an early version of the main theme in pastoral form, composed prior to "Pastoral Red" and "Red Wood".