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Terrence Malick is as much known for his unconventional process as his unconventional style. Whether handing out reading lists instead of scripts, improvising scenes, or changing the entire direction of a film on the cutting room floor, Malick’s approach is anything but ordinary. When it comes to music, Malick could be considered more conventional. His films feature a blend of classical and contemporary music with original scores. But the way he weaves music through his ideas, characters, movement, editing, and subtext, brings a completely new dimension to these films.

We talk a lot about finding your voice, but we don‘t always talk about the consequences of doing so. Namely, once you’ve found your voice, people have to make a decision about whether or not they like it. You’re drawing a line in the sand. For Director Niclas Larsson, he’s won and lost jobs based on pushing his style: “I tend to push a little too hard, perhaps. Then again, I don’t want to apologize for pushing a product and visual style. At the end of the day, I know I’m speaking a different language. I’m talking with experience,” Niclas told us.

In a film, music can either be a life raft or the tip of the iceberg: something that sits on the surface, staying afloat, or something that hints at a greater narrative depth. One is a missed opportunity and one is art, and for directors like Phil Wall, behind Hulu’s The Standard, he’s not using his sound as a way to bail out. He’s using it to crack the door to something underneath the surface.

Director Phil Wall works across the commercial and narrative space, with films like The Book Keepers, The Passing Game, and more. One of his commercial clients, GORUCK, is behind one of the most rigorous and challenging athletic competitions on the planet, called GORUCK Selection, which puts athletes through more than 48 hours of physical, mental, and even spiritual torment. So, when they brought up the idea of capturing the competition, Phil knew there was an opportunity. He just didn’t know what kind.