Yellow

When I was little I had a theory that you should draw a picture using all the colors except yellow, making it as good as you could, and then, finally, after giving up, you should add yellow. And yellow had the magical property of instantly making everything come alive, it was light itself, and thus the picture came into being. Mike Andrews' score was the yellow for the movie. When we started working together I was nearly done editing, exhausted, running out of time, and pretty sure I had failed completely. Mike asked that I work with him all day, every day-that I really make the score with him, note by note. In this way I began all over again, with a new voice and an ally who had all sorts of fantastic powers. It must have been a very finite number of weeks, but it balloonized in to exactly the amount of time two people would need to create a whole universe. We wrested the movie down, drawing out the sadness that needed the hands to hold it, making music to be irreverent to, to laugh to, to love these characters through. It was terribly hard and sometimes frighteningly simple. Bryan Cook flew the plane, often to heights that were clearly without oxygen, but never questioning our insane trajectory. And we got there! When I watch the movie now, I realize it is all one thing, a single experience, the yellow has combined with the other colors the way the light should. but I suppose one makes a soundtrack album to somehow crack open that single voice. Maybe you can hear the beautiful reality of separate people feeling the same thing and expressing it at different frequencies that are unique to them. You don't have to do it alone, and in fact, you can't.

-Miranda July, May 7, 2005
On making the soundtrack to 'Me and You and Everyone We Know'

If you haven't seen this film or listened to this soundtrack you absolutely should, both are beautiful.