Also featured in a key scene is Leonard Cohen's Hallelujah. "There are two Leonard Cohen’s because there is a Leonard Cohen on the end titles as well," Snyder pointed out. "Hallelujah, that love scene, I originally had the Allison Crowe version of that song, a version I’ve always loved, but in the end was just too romantic. Everybody thought that I meant it they thought the love scene was serious, not that it isn’t serious but that song was too – her version was too sexy. So I was like, 'Yeah I’ve got to go back to the Leonard Cohen.' For me it is incredibly ironic, even with that version of the song it is incredibly ironic. I don’t care what version of Hallelujah is on that love scene it is ridiculous, but in a great way. With Leonard Cohen it is like you can’t miss it now, can you? I’m sure some people will, but that is fine."