You are listening to the Next Best Picture podcast, and this is Giovanni Lago's interview,

with the composers for past lives, Christopher Baer and Daniel Rossin.

There is a word in Korean, enion. It means providence or fate.

Do you believe in that?

That's just something Koreans say to seduce them mine.

Hello everyone. Welcome to the Next Best Picture Podcast. I'm Giovanni Logo, and today I am joined by the composers of past lives, Christopher Baer, and Daniel Rosen.

Thank you so much for joining.

Yeah, thanks for having us. Well, I just have to say,

the score for past lives is probably some of the best film score I've heard all year. I constantly

listen to it, like every day when I'm either walking through New York or I just moved to New York

recently. So the whole film inherently is just very relatable. And I think every detail

about the film is so specific, whether it's the casting or locations or, of course, the music.

And I was just wondering, how did Celine Song approach you guys for the film? Was it very early on

in development? What was that like? Yeah, it was pretty early. I think we were on her radar

partially because maybe there was some association with the same time frame of the film with

our sort of heyday when she was a bit younger when we were out touring a lot. But yeah,

she got in touch. I think they were in the

early stages of filming, but we saw the script. They gave us the script and had some conversations

with her. But yeah. I was just also, I just love the score, the sound of it inherently. It exudes

so many feelings. It feels to me very lush and warm and

inherently like deeply romantic. And I was just wondering how the both of you decided to come together

to figure out what the sound would inherently be like. Did you always want to sound like this?

...