Culture Diary: Music to Muse By

The first film score I discovered was magic to write to was Amelie. Most of the songs are by Yann Tiersen, and are heavy on the accordion and piano — very French. Someone had burned me a copy of the soundtrack on CD in college, and I listened to it over and over again when I was doing study abroad. I’d mostly listen on my neon green Discman in my room, writing in my notebook with my feet perched on the radiator because the apartment was drafty. Sometimes I’d listen walking around the streets of Florence, or while sitting outdoors at a cafe, feeling very European. Nearly 20 years later, and that soundtrack is still my favorite writing music, one of my favorite albums of all-time.

It didn’t occur to me to write to film scores in general until I saw a tweet from Rachel Syme a few years ago recommending it. And because Rachel Syme is pretty much my hero and I will do whatever she recommends, I began making a new Spotify playlist immediately. I called it “Music to Muse By,” because I’m kind of pretentious and I wanted to leave the possibilities open—I didn’t have to write while listening, but could also just stare into space and…muse.

Writing to film scores is great because there usually aren’t lyrics to distract you (a problem for me when I’m really trying to concentrate) and there’s usually a narrative arc to the music — from dreamy introductory montages to thrilling action sequences to epic crescendoes.

After a few years, I’ve determined that these film scores are my favorite to write to. Feel free to give it a shot, and if you do, let me know what you think and if you have any favorites to recommend!

1. The Leftovers by Max Richter (okay not a film but the music is REALLY GOOD)
2. Dead Poet’s Society by Maurice Jarre & Peter Weir (mostly for nostalgic reasons
3. Carol by Carter Burwell
4. Atonement by Dario Marianelli
5. The Grand Budapest Hotel by Alexandre Despat
6. Phantom Thread by Jonny Greenwood
7. If Beale Street Could Talk by Nicholas Britell
8. Little Women by Alexandre Despat (both versions are great but this is the Gerwig version)

This is causing me to realize that there aren’t enough film scores by women. If you know of any, let me know, please!