Elena Maro: Crafting a Surreal Symphony for Carriage Return at the LA SHORTS Festival

Elena Maro: I’ve known director Ferguson Sauvé-Rogan since 2021, when we met at a screening for a film I had scored. He was the Cinematographer on that project and during our conversation, he shared his intention to shift more toward directing, expressing a desire to work with me when that happened.

True to his word, he reached out to me last year for Carriage Return, and I was immediately hooked. From that first conversation, two things were clear: we were both eager to collaborate, and there was a mutual trust from the start. Ferguson’s brother, Daniel, is the writer and producer of Carriage Return, so the process truly felt like a collaboration with both of them. From the spotting session onward, it was evident that we had a solid, unified team.

Two essential ingredients fueled our successful collaboration: mutual trust and creative synergy. Both Ferguson and Daniel trusted me completely. They were immediately open to my suggestion of recording the score 100% live in Los Angeles, and they gave me the freedom to expand on their ideas according to my instincts. Throughout the creative process, Ferguson provided detailed notes and had a clear vision for his film, yet he remained open to my suggestions. Some of my ideas—such as using multiphonics, talking into the saxophones, key clicks, and other unconventional techniques—couldn’t be replicated with samples. This led to extensive discussions about how the live instruments would sound during the recording. It was truly rewarding to have my cues approved “sight unseen,” so to speak. It is very interesting that we resorted to this old-fashioned way of structuring the composer-director collaboration, somewhat less reliant on mockups and orchestral simulations, while working on a film that, in itself, pays homage to the legacy of black and white cinema.

PH: Carriage Return features a genre-blending score that incorporates traditional jazz elements alongside unconventional techniques. How did you approach balancing these seemingly contrasting styles? 

Elena Maro: I think the key to this was the concept we developed during the spotting session: since the story revolves around two characters, we decided to represent Marlow’s voice with percussion and Lane’s voice with brass and woodwinds, allowing them to "talk" to each other, much like the characters on screen—percussion sustaining Marlow’s anger and complaints, and the winds expressing Lane’s emotional distance and cool demeanor. These two main elements of the score, flowing in balance throughout the film, created space for the quirkier touches represented by the unusual instruments, unconventional techniques, and unorthodox sound processing—while the organic texture was preserved by replacing synthesizers with purely organic sounds, at times processed.

Thanks to a great screenplay by Daniel, fantastic direction by Ferguson, and exceptional performances by Jeremy Parr and Carlos Sanchez, the balance was already in place. I made my musical choices with the intention of creating something interesting and unexpected, yet cohesive and truly in tune with the story—"playing along," in a way. Everyone else on the team had already prepared an amazing playground for my musical creativity, and the interactions between the characters provided a solid foundation for the score’s dynamics. 

The rest was all about feeling the story and making the right moves in what I call the “composer’s dance”—coming in and out at the right moments to emphasize, while also leaving space when needed, so the score could be a distinctive, interesting voice without being intrusive.

PH: Your choice of instrumentation—such as replacing the drum set with percussion and using an electric bass guitar instead of a double bass—added a unique texture to the score. What inspired these decisions, and how do you feel they enhanced the storytelling?

Elena Maro: We agreed that the score should begin with jazz but “derail into other realms” so it could effectively support the story’s twists and turns. The use of polyrhythms, unconventional instruments and playing techniques—at times pushing their boundaries to the limit—matched perfectly with what Ferguson had told me about the film from the start: “The moment you think you’ve figured it out, you realize you haven’t.”

As for the electric bass guitar, since the storyline takes many surreal turns and breaks the timeline, we incorporated contemporary sounds alongside traditional woodwinds and brass, enhancing the “artistic contamination” in both the narrative and the score. The bass occasionally plays a role akin to the double bass in classic swing and big-band jazz, but at other times, it becomes an unsettling presence, with extended techniques such as string detuning and the use of an e-bow.

Every choice I make for my scores is informed by a semantic consideration; each decision has a profound reason that comes from the film itself. I believe that a score should not only accompany the story but become a part of it. Since Carriage Return is set in the 50s, but at one point becomes unreal—its timeline broken and reversed (and other elements I can’t share, no spoilers, sorry)—I wanted to break some rules myself to evoke a feeling of unease, confusion, and even slight disturbance in the audience, mirroring the story unfolding on screen.

PH: Mimicking typewriter sounds with instruments like the triangle, cabasa, and saxophone key clicks is such a creative idea. Can you share how you developed this concept and its role in hinting at important plot developments?

Elena Maro: The title of the film itself hints that the typewriter plays an important role. As I was watching, I realized that the typewriter functioned like a third character—crucial to the plot. The key to understanding the story is tightly linked to it, so I wanted to use sound to provide subtle clues, allowing the audience to enjoy the "eureka" moment when everything clicks into place at the end.

These echoes—represented by key clicks, guiro, cabasa, triangle, a "dragonfly" (our percussionist’s rivet line from an airplane functioning as a more haunting version of a vibraslap), and a danmo—serve to remind us that even when the typewriter isn’t on screen, its presence is integral to the story’s development. It’s there, influencing the entire arc of the film, so I thought: why not let the typewriter have a voice throughout the story? This might sound like a rhetorical question, but once you watch the reveal scene and the ending, the answer becomes clear.

PH: From speaking into saxophones to employing multiphonics and playing with rubber balls, you’ve embraced experimental techniques in this score. Were there any moments where you pushed the boundaries even further than you initially planned?

Elena Maro: I felt so comfortable in this collaboration that I honestly never questioned the limits—it wasn’t a problem I ever considered. The trust I had from the director and producer allowed me to release any pressure, and I was completely at ease fine-tuning my work with the film, thinking outside the box, and experimenting. That said, all the musicians who played on the score pushed those boundaries in such skillful ways that the result exceeded my initial expectations. The bi-directional nature of my collaboration with them led to suggestions and solutions that expanded the sound palette even more than planned.

Nevertheless, I never forgot the classic rule of thumb in film music: you can “go wild” up to a certain point, but you must be careful not to let the music overshadow the project, steal the scene, or become distracting. As composers, we can have our unique voice heard, but in the end, it’s about respecting the story. It’s not about us shining—it’s our job to serve the film, just like everyone else on the team. This is the most important lesson I learned during my years working on theater productions: we all come together to do our best, so we can create the best piece of art possible.

PH: You collaborated with some of LA’s finest jazz session musicians for this project. How did their expertise contribute to bringing your unconventional score to life?

Elena Maro: Since our first conversation about Carriage Return, Ferguson told me that he and Daniel were aiming for a jazzy, percussion-centric score. Immediately, I thought of Brian Kilgore, who is well-known among Los Angeles composers for his impeccable technique and immense versatility. When he agreed to play in our film, I was ecstatic. He is also a wonderful team player—he even invited me to visit his studio while I was starting on the score to demonstrate instruments and offer inspiration for the quirkiness I wanted to bring into the music. I had a blast that day, and many of the ideas came from that experience: the airplane wing rivet line, the danmo, the waterphone, the Marvin, the coffee table, to name a few—not to mention the wonderful resounding vibraphone that inspired me to write the end credits cue specifically for it.

At the recording session, his expertise meant we could capture everything we needed—and more—thanks to extra takes filled with interesting improvisations and alternatives that definitely enhanced the score.

As for the woodwinds and brass, Chris Tedesco not only assembled a team of exceptional musicians as contractor, but his haunting and unstoppable trumpet, along with his multifaceted technique (I once said to him, “Thank you for playing even the impossible notes seamlessly”), played an essential role in shaping the overall tone of the score.

The experience and versatility of these musicians truly made it possible to bring the quirkiest and most unconventional ideas to life in a wonderful, cohesive way. I couldn’t have done it without them.

May I also take the opportunity to mention our contractor, Noah Gladstone, who played an important role in helping us with the paperwork so we could have our sessions under a union contract?

And last but not least, I’d like to mention our scoring mixer, Damon Tedesco. His expertise and kindness made working with him a breeze.

We all had genuine fun creating this score, and my hope is that this sense of fun comes through to the film’s audience.

PH: With more than 30 years of experience in music for theater, TV, and live performances, how do you think your background influenced the unique soundscape of Carriage Return?

Elena Maro: I feel incredibly fortunate to have such a diverse and multidisciplinary background in music, which has undoubtedly shaped the unique soundscape of Carriage Return. My experience in ballet, singing, and theater has informed my approach to film scoring in ways that allow me to bring a deep understanding of rhythm, emotional nuance, and collaboration to the table. These influences have not only shaped my creative process, but also helped me approach the music for Carriage Return with a sense of discipline, awareness, and adaptability.

For example, classical ballet is a highly structured art form, and the experience of moving my body to music as a professional dancer has trained me to understand rhythm on a deeply physical level. This has directly impacted my ability to "feel" the rhythm of a film’s pacing. Whether it’s the flow of a scene, the movement of the camera, or the transitions between moments, my background in ballet allows me to connect with the physicality of the music in a way that aligns closely with the visuals. I’m able to instinctively sense how the music should move with the cut, ensuring that every musical decision enhances the pace and emotional flow of the scene. For Carriage Return, this sensitivity to rhythm helped me match the shifts in time and atmosphere, reflecting the film's dynamic structure.

Similarly, the emotional resonance of singing and the collaborative spirit of theater are other key influences on my work in film music. Being mindful of these aspects helped me create a score that enhances the film’s unique atmosphere.

The result is music that not only supports the story but becomes a dynamic, integral part of it.

PH: How does it feel to have Carriage Return premiere at an Oscar-qualifying festival like LA Shorts, and what do you hope audiences take away from your score?

Elena Maro: Creating the score for Carriage Return is already a milestone for me. Having my music recorded in Los Angeles by some of the finest session musicians was one of the main goals I set when I decided to move here from Italy.

Since I was a teenager, falling in love with film music while watching classic Hollywood Golden Age gems, my life has been all about making the move to the USA possible. As a friend once told me—and I couldn’t agree more—"I didn’t get here just to get here." To me, Los Angeles represents a world of endless possibilities, all while being part of a wonderful community and immersing myself in the history of film. The legacy of those who shaped cinema is palpable here, and it’s immensely inspiring. So, having the film premiere at an Oscar-qualifying festival in the City of Angels was nothing short of thrilling. I cherish that day as one of the best since I moved here in 2016.

It was especially wonderful to receive a shout-out from Ferguson and Daniel during the Q&A and hear the audience’s cheers. I wasn’t moved because of the recognition for myself, but because it was a clear indication that the score had touched their hearts. As much as I love working in post-production, it can be a solitary and isolated experience. While I’m truly grateful to be doing the job I’ve always dreamed of, the direct feedback from the audience is something I sometimes miss from my theater days. There’s something uniquely rewarding about seeing and hearing how your work resonates with people in real time.

PH: What advice would you give to composers looking to explore genre-blending and experimental techniques in their work?

Elena Maro: To push boundaries, it’s crucial to understand where those boundaries are. Studying the instruments and their characteristics—we know when and how much we can push them.

To break rules, you first need to know them well. A solid foundation in music theory and composition is essential. It’s similar to what happens with ballet: as a classically trained dancer, I learned strict technique, and this knowledge enabled me to adapt easily to modern styles. The modern techniques often stem from these classical foundations, and knowing them gives you the freedom to experiment while maintaining structure and balance. In composition, you can break the rules and explore quirkiness, but you still need to ensure that your score has balance and form.

A similar consideration applies to the use of technology in creating music: putting aside the exclusive acoustic nature of this particular score for a moment, I often experiment with sound design and computer generated soundscapes, but the use of these tools is much more meaningful when it is supported by the same mindset about form and structure that also supports traditional orchestration.

Be a hungry listener of all kinds of music—be curious. We’re incredibly fortunate today to have access to endless resources online, allowing us to discover new sounds and ideas. You never know where your search will lead you. I think being a great writer requires being a voracious reader, and for composers, it’s the same: we benefit from being tireless listeners. Exposing yourself to different genres and styles opens up new avenues for creativity and inspiration.

The next tip is about soul-searching. While exploring new musical territories, keep in mind that you’re creating art, which means connecting with your higher self, engaging in soul-searching, and fine-tuning that connection with the film. Just like acting, it’s about understanding and truly feeling what the characters are experiencing, so you can create something unexpected yet honest, authentic, and emotionally resonant—something that aligns with the story and truly resonates with the audience.