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Clay's Redemption




Carlos Boellinger 

Tin Cowboys Productions

Akie Kotabe, Nuuxs, Daniel Stisen,
Magdalena Sverlander, Charlie Blackwood

About the Project

Clay, a body-swapping enforcer, searches for redemption in a city run by Immortals and old world Gods. Within sight of earning his EXIT, Clay is given one final job: protect a mute young woman. But by the time he realises there's more to her than meets the eye, the job is a set-up, his boss is dead, and there's a demon on his tail.


CLAY’S REDEMPTION is a stylish, neon-soaked indie flick, inspired by 80’s cult movies and hard edged graphic novels; featuring Akie Kotabe (The Batman, The Man in the High Castle, Everly) and singer Nuuxs in her screen debut. written and directed by Carlos Boellinger and co-written and co-produced by Ivo Alexander, Clay’s Redemption also stars Magdalena Sverlander (Treadstone), Daniel Stisen (Zack Snyder’s Justice League) and Charlie Blackwood (Matriach, Great Expectations).

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“An absolute formula for success” Mark Kermode, Scala Radio


“Their score is a jazz, synth, total slab of chaos…The best track to listen to is ‘Since When Were You Afraid of Death’ the closing track and it is absolutely wild” - Nick Marcus, The Film Scorer


"The lively score, composed by London-based duo TwoTwentyTwo, keeps the viewer engaged, the film shines during the fight sequences.” -


"The neon-lit alleyways Clay wanders through are well-shot, and the score complements them well. The movie is strongest when it embraces the noir mood.” - Evan Dossey,  


"The rain-slicked neon landscape (shot late at night, guerrilla style, in London) and purposefully pulsating score go a long way” - Tom Meek, Cambridge Day

About the Score

Principle Photography wrapped just as the world begun locking down due to the coronavirus so when Two Twenty Two begun scoring duties, staying home to save lives was taking full effect so the soundtrack was all going to be done from the home studio. The brief for Clay’s Redemption was fairly simple from the director. He wanted something epic, other-worldly or fantastical and to utilise leit motifs and themes. Subtly wasn’t really discussed. Tom and Daisy set about composing duties by designing various sounds using frenetic saxes, throbbing synthesizers and baritone guitars, assigning themes to various characters. Heavy metallic drum kit sounds for the titans, taiko drumming for the more nimble fighting and an 808 drum machine and arppegiator for the psychopath 00na! The aim for the score was to evoke a sense of nostalgia and childlike imagination that felt at home with comic book horror, fantasy and neon-soaked noir Clay’s Redemption set out to achieve. 

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