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In my project focusing on the "Blair Witch Project" (1999), I explored enhancing the film's tension and fear through a carefully composed hybrid score. Recognizing the film's unique approach of not using traditional music, I aimed to subtly amplify the suspense and dread. This was achieved by dividing a crucial three-minute segment into six escalating sections, starting with silence and gradually introducing elements like synths, cellos, and orchestral sounds. The composition played on the film's dual perspectives – Mike's color footage and Heather's black and white scenes – using a monotonous cello underlay for Heather's anxious narrative and a more restrained sound for Mike's parts, emphasizing the unseen threats and intensifying the film's haunting atmosphere.

Instrumentally, my composition blended traditional, unconventional, and electroacoustic elements, including strings, cymbals, and unique sounds like stroked bicycle spokes and a waterphone. This mix created an eerie soundscape, deliberately avoiding harmonic or melodic progressions to maintain a sense of unease. The resulting soundtrack, a Cubase mockup, complements the film's haunted house trope, effectively using silence and a carefully selected array of sounds to heighten the viewer's sense of fear and anticipation.

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