The main theme for the film presented itself to Johnny as he was on-set during the first week of filming and, as it became clearer, he recorded it on his telephone during a visit to the toilet.

As the edit got underway, Johnny sat at an adjoining desk to editor Gary Dollner and began composing further themes whilst watching the cut come together. The pair would frequently stop to play music and picture against each other in what became a perfectly symbiotic process.

But writing a sackful of guitar-based Indie-pop was not the ideal training for attempting a movie score and it wasn’t long before the ghouls of self-doubt began to gather…

‘I’d very quickly assembled around 20 ‘sketches’, all roughly programmed within pro-tools but, having written the words and directed the pictures, I started to feel a complete lack of perspective as to what I was doing …’

Enter Simon Fisher Turner, a composer of repute having scored (amongst other movies) Derek Jarman’s ‘Caravaggio’, Mike Hodges ‘Croupier’ and Paul McGuigan’s ‘Gangster No1′

Simon had met Johnny previously through mutual friends and quickly reassured him that he was working in an interesting direction. He became, in his own words, a ‘Music Supervisor’ and began turning up at the cabin on odd mornings to offer encouragement and support. He also crucially brought Gilad Atzmon into the equation. Gilad, an Israeli jazz musician of international renown, loved the demo’s and over two days at London’s Eastcote Studios, his band ‘The Orient House Ensemble’ (along with cellist Laura Moody and Johnny on guitar) recorded all of the film’s score elements.

Over the following fortnight Johnny, and old friend Karl Derfler (recording and mixing engineer to Tom Waits), mixed all of the score elements and the incidental tracks that Johnny had recorded separately. The song that plays over the end credits, ‘The Emperor’s Old Clothes’, was written and recorded by Johnny and is to be found on his forthcoming album, ‘A False Parade’.