![Composer Heather McIntosh Interview: Cat Person [Sundance]](https://i.headtopics.com/images/2023/2/4/screenrant/we-chat-with-catperson-composer-heather-mcintosh-m-we-chat-with-catperson-composer-heather-mcintosh-m-1621629026719645700.webp)
We chat with CatPerson composer Heather McIntosh (mcintoshhhh) about the tonal tightrope and musical techniques behind her score for Susanna Fogel’s Sundance thriller, starring Emilia Jones and Nicholas Braun:
Cat Person is a rollercoaster of a film that dives into headfirst into the awkwardness, tension, and humor of dating. The film is based on a short story of the same name that first debuted in New Yorker magazine in 2017. The story is gripping, meticulously detailing the inner thoughts of its main character, a college student named Margot, as she explores the possibility of a relationship with an older man named Robert.
Heather McIntosh: That was my entry point, for sure. They were like, "Hey, we're looking for a composer for this. Why don't you read the short story." It was produced by New Yorker Films and also StudioCanal, so that was the touchpoint for all of us. I've never had anything that so encapsulated such different feelings in this interior voice space, and gave such extreme reactions depending on who is reading it, or taking it in.
It had this really human texture to it even though it feels like a theremin or something. We created this horror element by all these very light, conventionally on the gender spectrum, very "female" flutes, and whistles, and plucky violins. [We used] all these little light tones, and we were able to manipulate those into this horror space slowly as things unfold, which was really exciting.
[The harp is] yet another one of those you conventionally think of as a delicate-sounding instrument, but you can do so many cool textures with it as well. Then [there was] violin. I played the cello and bass, and manipulated those as the score tiptoes from the lighter side to the moodier side. The cello becomes more and more menacing, and I'm allowed to sort of get in that gnarly thriller, horror space of what dating is or could be.
[We were able to] just be present together, and get to feel like we know each other a little bit better than those little forty-five-minute connection points via our computers. It felt really special to get back in the room together. Then, I went off back to Glendale, California, and got to writing, but came back again when it was time for the final mix, se did a couple visits. Susanna was between New York and Los Angeles, so we started getting more in-person right toward the end as well.
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