The soundtrack's opening number — one of the most-quoted choir moments in modern film. Justin Hurwitz's arrangement needed singers who could read pop while sitting under the leads. The choir didn't just back the track; it built the city the leads were stepping into. Charissa was part of the ensemble that anchored it.

Hired every singer on the record. What started as contracting a choir turned into nearly every song — the rooms we built ended up holding more weight than anyone planned for. The big ones stayed choir-anchored; the intimate ones leaned ensemble. Ten years on, the album still teaches singers how restraint and ensemble think differently.

Six actors who could sing. One who couldn't. The job: make all of them sound like a choir on camera. Lip-sync where it had to be, real voices where they could be. The hardest part isn't the music — it's reading which actor can be coached to sing under pressure and which needs the safety net. They hire on look; my job is to make sure the sound matches.